Your guide to the heart of Litchfield County:
Discover local stories, hidden gems, and must-know events.

An exhibition at the Ober Gallery in Kent features the work of a father and son—Robert Andrew Parker and Geoffrey Parker. by daphne anderson deeds

It’s always interesting to meet a member of a close friend’s immediate family. The sources of personality traits, familiar gestures, or what one thought was a unique laugh are immediately revealed. The friend suddenly assumes a more expansive presence, as though the person you knew now somehow exists in both the present and the past. This is the experience the viewer has at the Ober Gallery’s current exhibition of art by Robert Andrew Parker and his son, Geoffrey Parker. Though the artists have distinctly individual styles, there are ties that bind their work and bridge the generational divide.

Robert Andrew Parker is one the patriarchs of the Litchfield County art world.  Now a very youthful 88 years old, his long career is a masterful merging of illustration and expressionism. Parker, like many American artists before him, such as Bellows, Sloan, and Henri, began as an illustrator, and he remains a story teller. His energetic hand endows his subjects with an immediacy derived from modernism, but he always stays just inside the boundaries of narrative. This space between representation and abstraction is a vast, compelling arena that still holds Parker’s attention. In the current exhibition, many of the oil paintings and watercolors refer to his travels, which were extensive and often exotic. There are references to Spain, Nova Scotia, Ireland, London, as well as a local farm.

Light emanates from Robert Parker’s work. It falls upon his animals, shines from his horizons, and flickers between his brush strokes. There is a sense of optimism and a joy of life throughout his career, from the forty children’s books he has illustrated, to the vivid, lively paintings on view at Ober Gallery.

Robert Parker’s humor is sometimes overt but often a subtle undercurrent in his work. It is clear that he is well acquainted with the absurdity of life. At the Ober show, a large, bright watercolor on paper titled Nova Scotia is a lovely, rather traditional seascape rendered quirky by the head of a goat peering at the scene from the left. Is this a goat’s-eye-view, or is the animal joining the viewer in appreciating nature? In either case, here Parker is quite willing to show his silly side. One of his well-known monkey drawings here is both a serious animal study and a stand-in for a human portrait.

As many in Northwest Connecticut know, Robert Parker is also an accomplished jazz drummer. He still plays each week at a local club. Jazz and modern art have long been cross -influences. As soon as Robert graduated from the Art Institute of Chicago in 1952, he moved to New York where he frequented the historic jazz clubs on 52nd Street. Jazz rhythms punctuate his confident, fast-paced oeuvre. In 1948, Robert and first wife, Dorothy married. They had five sons, four of whom are professional drummers. Only Geoffrey, born in 1956, has eschewed the family music tradition.

Geoffrey has been an artist since he was a child. Even during the ten years after high school when he was a merchant marine, he found time to draw and paint. From 1992 to 2000, he was an illustrator for the New Yorker magazine. His illustrations have appeared in over one hundred other magazines. Like his father, illustration is the foundation of his work.

While Robert is observational, Geoffrey’s paintings have a visionary quality. In all Geoffrey’s work, there is a restraint that suggests there is more to the pictures than we are allowed to see. Many of the current offerings refer to his experiences at sea. Lighthouse Buoy Ship is painted on an irregularly shaped, found piece of board.  A long barge is shown virtually submerged by a rather calm ocean.  Three ominous yellow lights shine, two from poles that extend high about the barge, one alights the smokestack. The dark sky, the vessel’s precarious position, and the luminous orbs are unsettling. Land looms in the near background, but help does not seem likely.

Night features in much of Geoffrey’s work. Salvage Buoy may document a mundane nautical procedure, but the large buoy in the foreground seems almost menacing, as though it might be full of aliens ready to board the boat that recedes in the distance. Hudson Radio Station shares a reserve that is absent from Robert Parker’s more active surface. Geoffrey’s composition relies on blocks of flat color and a reductive palette. The lights that shine out of these scenes act as harbingers of dread in a strange, forbidding world. We wonder: what exactly is happening inside the Hudson Radio Station?

The Ober exhibition includes a group of aquatints that are Geoffrey’s most expert offerings. The rich blacks and soft surfaces are luxurious celebrations of the medium. The structure of Buried Skier is particularly strong. The three slightly bowed, standing figures and the reinforcing diagonals of their ski poles command the small but powerful composition. With the reclining form in the foreground, the print is reminiscent of a deposition from the cross. Again, darkness prevails, and Geoffrey’s clean lines and his command of an array of dark tones align him with the best of the early modern printmakers like Abraham Walkowitz or Rockwell Kent, one of his favorite artists.

Father and son are mutually supportive, each proud of the other’s achievements. Humor punctuates their conversation. They both seem primed for laughter. Their warm, easy relationship is a pleasure to behold, in person and on the walls.

The Father and Son exhibition will remain on view until May 1, 2016 at the Ober Gallery in Kent.

Ober Gallery – New Digs Space
10 North Main Street
Kent
860. 927.5030
obergallery@gmail.com
http://obergallery.com   

Guest art critic Daphne Anderson Deeds is a fine art and museum consultant in Litchfield County. A seasoned art museum curator and administrator who has held senior positions at university and civic museums throughout the U.S., including the Yale University Art Gallery, and the Smart Museum at the University of Chicago, her eponymous consultancy serves private collectors, artist estates, museums and contemporary artists. Detailed information including testimonials, exhibitions curated, and publications is available at: http://daphneandersondeeds.com/ 

One of Litchfield County’s most popular fitness instructors, Wanessa Anderson, has launched W. Rhythm Fitness, a studio offering classes and workshops that rock.

Known for her high-energy Zumba classes and her ability to inspire by turning every workout into a whole lot of fun, Wanessa Anderson has been in high demand for years, running classes at many studios and gyms in the area. With clients coming from all of the surrounding towns to take her classes in the center of the town of Kent, it’s no surprise that she is now in charge of her own studio.

When Mountain Falls Fitness Studio closed their doors in December of 2015, Wanessa Anderson took over the space and turned it into W. Rhythm Fitness Studio, currently the only studio in Litchfield county specializing in Barre workouts.

Wanessa uses three phrases to describe the overall philosophy of her program: Healthy Lifestyle. Fit Body. Peaceful Mind. “When I started thinking about starting a fitness program, these are the words that came to mind. I strongly believe that these three things must be the ultimate goal. After being in the fitness industry for over 6 years and a dance enthusiast since a very young age, I realized that a lot of people are in need of guidance towards that goal. Throughout the years I have seen people’s lives being completely transformed for the better as a result of a workout routine that they truly enjoy because it resonates with who they are. To find it, you must be on a journey, allowing yourself to try and discover different paths you can take to finally meet the best version of you.”

At W. Rhythm Fitness the classes are fresh, innovative, and designed to take one’s fitness journey to the next level. They offer a variety of Barre classes (from beginner to advanced), including YogaBarre, PiYo (fusion of Pilates and Yoga), Piloxing (fusion of standing Pilates, Boxing and aerobics dance), Zumba and Belly Dance Party.

Barre is a mix of ballet, pilates and yoga and has been around for a long time. It’s low impact and very effective. Barre workouts are uniquely designed to work every small and large muscle group in your body. Squats, lunges, push ups, planks, intense and deep abdominal work are all part of each and every class. Combine all of this to the science of isometric exercises that will make you feel the burn of each movement. Because heavy weights and high impact exercises are not part of this workout, everyone can do it. Everything is set to a dynamic, high energy, and most importantly, a fun workout. Results are usually seen in less than 2 months of taking regular barre classes. With these classes, people can significantly improve their overall body strength, especially the core muscles. Wanessa emphasizes that all levels of fitness and ages welcome.

Originally from Sao Paulo, Brazil, Wanessa is a resident of Kent with her husband and 7-year-old daughter. She has an extensive ballet and modern dance background, having studied and practiced since a very young age. She started teaching fitness classes at Mountain Falls Fitness Studio 5 years ago and her career took off from there. “I have taught classes in most of the gyms and fitness studios in Litchfield county including New Milford Sports Club where I have a full-time position there as a membership advisor and group activity manager. Throughout the years I’ve acquired many certifications including Group Exercise Instructor and Personal Trainer by AFAA, Zumba, PiYo, Turbo Kick, Piloxing and my most recent one as a Barre Fitness Instructor from the International Ballet Barre Fitness Association, level 2. And at the moment, I am also working on my Nutritional Therapy certification from the Nutritional Therapy Institute.”

In addition to Wanessa, there are two more instructors teaching at the studio. Cruz Zoeller is a yoga instructor and Stephanie Grusawski teaches a class called Total Body Strength. As part of their New Year’s resolution plan, the studio has launched a 30-Day Whole Food Plan that will help to reset the body in a natural and healthy way delivering long lasting weight loss results.

When it comes to growth, the sky is the limit. The studio is open for fitness professionals and dancers to rent the space and run their programs. Since the grand opening in December 2015, the studio has held various workshops: Restorative Yoga, Latin Dance, Journey Dance and Boxing classes. Wanessa is also working on offering Tai Chi and Intuitive Movement in February. Check the Live & Learn section of Happening in the Hills for future classes and workshops.

Finding beauty and truth in the people and places he encounters, local artist Vincent Giarrano creates magnificent realistic paintings from modern life.

Vincent Giarrano doesn’t want to paint a bowl of fruit. “I like capturing fleeting moments in real life.” He mostly loves painting figures, and he tends to gravitate towards women as a subject— the clothing is particularly appealing to him. Interiors and architectural details can also be found in his work. “The historical architecture in New York City is full of character. You feel it there.” He discovered urban landscapes early on when he was trying to figure out what he wanted to paint. (It’s not surprising that he likes Edward Hopper’s work.) He wanted to capture that edge—life in the city.

If you’re in Manhattan, you may come across Giarrano in a narrow lane in Soho, using a customized cigar box (called a pochade) while he concentrates on the facade of a building with an archway for a small study to be used later in a painting. Pochade boxes are compact boxes that allow the artist to keep all of their supplies in one location and work on the inside of the lid. These boxes are traditionally used for plein air painting and for travel, the maximum size canvas or work surface is quite small, usually not over 12 inches. Vincent tries to go into the city to paint at least once or twice a month. He also does plein air painting here in Litchfield county, but his landscapes tend to have more resolve than a typical landscape painting. Even his still life pictures have “life”.

Vincent prefers oil to any other medium. “Oil is king. It’s what people want. Oil paint is very forgiving. It captures reality more than watercolor.” Originally, he started off with a very limited palette but, now and then, he adds other colors. He usually begins with a warm ground. Then he draws with the same mixture directly over the ground. Sometimes he doesn’t draw, he just paints. “The whole process is about change and loss. You can’t be possessive about what you have. You have to let it go,” Vincent says, “you can’t improve if you hold on, you have to not care so much, it will inhibit you, you will not learn new things and evolve. I learned that early on.”

Learning how to turn off your brain and use your eyes is super important, according to Giarrano. He notes that observational information is supportive instead of leading. In illustration it is the opposite. “When I am painting, I am focused on shapes of paint, shapes of color. If you look at one of Sargent’s paintings up close, it’s a mess.” Indeed, when you step back to look at Giarrano’s paintings, they look very tight, very realistic with a lot of detail, but as you get closer you realize that it is actually quite loose, almost impressionistic. There is an emotionally charged quality to the brush strokes. Somehow he is able to capture the details and tell the bigger story with color and light; his compositions calm, but full of expression.

Giarrano doesn’t usually paint on large-sized canvases, but it depends on the subject matter. Scale is a huge part of figuring out what works best for a subject. Before he begins a new painting, he either works from a posed figure or uses photographs that he sets up. He also does drawings and small studies, before beginning a painting. Whether he is in his studio or at a subject’s place, he spends time early on exploring the composition. “I’m editing and changing things as I go.” The average time that Vincent spends on a painting is about 4 weeks, sometimes more; on a smaller scale, he has done studies in 2 hours.

The journey of how this talented artist ended up living in the Northwest Corner is typical of other artists and creative folks who have settled here. Vincent and his wife Kathy, a creative director, were living in Fairfield because it was not far from New York City. Both were going into the city for work. But once they began freelancing from home, it was no longer necessary to be close to the city. Fairfield was becoming very congested, and they had just had their first child and were beginning to think about schools. They decided to look for something more rural. They looked at homes for sale in Vermont, New Hampshire, and the Hudson Valley. In their search, they came across Washington, Connecticut and were taken by its beauty, great culture, the restaurants, and the educated, intelligent people in the community. They found that there were many artists and art lovers in the area. So they bought a circa 1910 Colonial home and settled in Washington, raising their two children here. They converted the former chicken coop into a studio where they both have their work spaces.

Vincent remembers that as a young child, his mother used to draw him little pictures. Although no one in his family was an artist, his parents could see that Vincent liked art from a young age, and they encouraged him to pursue it. Giarrano grew up in Buffalo, New York, the second youngest of 5 kids—he was the only one who was interested in the arts. He attended Suny University at Buffalo, NY. He studied etching, drawing, sculpture, and painting— basically he took all of the arts classes that were available to him. He ended up focusing on sculpture because he liked his professor and enjoyed the sculpture class. Sculpture was his major for his undergraduate studies. Then he went on to attend graduate school at Syracuse University for 3 years. The postmodern aesthetic at the campus molded him. He learned foundry, welding, and painting— all of it was formalistic and conceptual work. But after grad school, he came to the conclusion that he didn’t like the art world so much.

He had already done some freelance work as an illustrator while at school, and he had always been interested in comic books, film, and animation. He spent the next 16 to 17 years working on comic books, for all the major comics publishers, DC, Marvel, Dark Horse Comics, etc. He found it very fulfilling, to create a whole project. But at a certain point, the industry hit a slump, so he turned to other types of illustration. He worked for Viacom, Simon & Schuster, and other clients; he even worked on Rugrats, the animated television series. The money was good, but the work was not fulfilling. He wasn’t rendering and that was the thing he loved most. It was empty. This period was followed by some soul-searching. He turned to journal writing and he found it helped him to find what he wanted to do, which was to paint. What he learned: “Challenge yourself—push yourself outside of your own comfort zone and you will find new ground.”

Vincent began taking life drawing classes at WAA’s studio (Washington Art Association) and got together with a bunch of artists, going out to paint together. They also sometimes rented a space and held 6-hour figure drawing sessions. “That was the thing I was looking for.” Fine art suddenly became a possibility. He tried going back to sculpture, realized that it was wrong for him. He discovered realism and John Singer Sargent. He loved the classical realism that was happening in the art worlds of New York and L.A. This art movement reflected a return to formal skills, to craft, and yet it was very contemporary. He decided that he wanted to do representational and meaningful work, not conceptual art like in school where art was clever, trendy, and fake. His work would be more real and substantial, sincere work that meant something to him, and that people could enjoy. He wanted his work to be true—to find truth. And to him, “life” is truthful.

In addition to the art classes, he taught himself through books, videos, a few short painting workshops and demos. He found that he was always learning, and he continues to be receptive to learning, “It is important in mainting creativity.” At around the age of 40, Vincent Giarrano found what he was looking for, what he was supposed to be doing—painting. And he’s been at it ever since, almost 16 years now.

To make the transition from commercial art to fine art, Vincent put together a five-year plan. He continued doing his illustration work because he had a family to help support, and he began painting at the same time. After three solo shows in the area—at Marty’s Cafe, the Roxbury Library, and and a space in Woodbury—he was able to make a living from it. He dropped his commercial work and focused on painting.

Today, Vincent still keeps journals. He writes about his concepts, people, technique, lists, even business aspects. He enjoys the business side. He is represented by seven to nine galleries at any given time, spread out around the U.S., England, and France. He has one big show a year, more or less. He likes to create a series of paintings for shows, but he only works on one painting at a time. In 2013-2014, he had a couple of paintings chosen for shows at museums. One painting, Aureta Thomollari at Fashion Week-NYC (shown here), was accepted at the BP Show at the National Portrait Gallery in London, and another painting, City Girl (also shown here) was accepted by the prestigious Outwin Boochever Competition into a show about redefining portraiture at The Smithsonian in Washington, DC. The artist says, “Every bit you do does a little bit of good—it always helps.”

When asked about artists who have influenced him, Vincent says, “John Singer Sargent—he was a painter’s painter. His work was bold and expressive. Also, Swedish artist Anders Zorn, and Joaqim Sorolla.” American artist John Singer Sargent was the leading portrait painter of his generation. Anders Zorn was Sweden’s master portrait painter, but he was so well-known around the world, he even painted portraits of three American Presidents: Grover Cleveland, William H. Taft and Theodore Roosevelt. And Joaqim Sorolla was a Spanish painter, who excelled in the painting of portraits, landscapes, and monumental works of social and historical themes. “All three of these influential artists knew Isabella Stewart Gardner, the American art collector, philanthropist, and patron of the arts. All three artists had expressive brushstrokes and a high level of realism. They were important to me.”

Back in Litchfield county, Vincent is involved in the local community. Rich with cultural events and natural beauty, the area turned out to be the perfect setting for Vincent’s life as an artist. He has taught classes, given painting sessions, and participated in local shows at WAA. He has some patrons of his work in the area. For years he has been going weekly to draw at WAA on Tuesday nights for 2 1/2 hours. “It’s multiple poses. I feel it’s the best exercise, keeps my “eye” sharp.”

Vincent Giarrano has mastered an impressive body of work in the years since he first started painting, yet he remains open to growth, new possibilities, and change. “The whole process is about change and loss.” So far, this openness to new things has served him well and we can look forward to more of his brilliance. For those of us who are fans of his work, Giarrano will have a one-man show in 2016, but it’s not scheduled yet, so we will have to be content with knowing that it’s coming.

Michael DePerno and Andrew Fry recently opened a new shop called Plain Goods and they filled it with things they love—clothes, accessories, rugs, textiles, and leather goods.

The small cottage where the new shop is situated is on the left-turn bend from East Shore Road in the historic village of New Preston. Michael DePerno and Andrew Fry renovated the interior and made it the perfect backdrop for their carefully curated merchandise. Plain Goods is awash in whites and neutrals. Tasteful items are arranged in stacks on tables and shelves, and everywhere you look you will find things with pure lines—handcrafted pieces, well worn rugs, furniture, and collectibles. They even carry a great line of baby items, and spices from March Pantry that are packaged in beautiful blue glass jars.

Michael DePerno began his career at ABC Carpet and Home in New York, designing the merchandise displays and display windows on Broadway. Next, he opened a shop in NYC and started getting interior design jobs from private clients. He established a presence with buyers for some of the top designers in the city, including Martha Stewart, Ralph Lauren, and Calvin Klein. He then moved to L.A. and opened another shop where the focus was on vintage and antique furnishings, with custom furniture, as well as comprehensive design services–from interior decorating and landscape design to architectural restoration and renovation.

Andrew Fry’s background is in communications and branding.  He has worked in-house at Ralph Lauren, Burberry, and Tom Ford.  He is now working with Tamara Mellon, founder of Jimmy Choo, on her new namesake line. He has also been involved in pop-up shop locations with St. Regis Hotels in NYC and Aspen; and W Hotel in Miami, during Art Basel.

Plain Goods is their latest venture and together they have gathered personally selected antiques from around the globe, a line of pantry items, and several lifestyle brands that embody a simple, well made aesthetic, including Makie, Himalayan Cashmere, Aesop, and Smythson, just to name a few. They also offer textiles and design services. Here’s what they had to say when we asked for more about them and the new shop:

How long have you been spending time in the Northwest Corner and what initially brought you here? 

I’ve been here just about 3 years. The beauty and proximity to NYC brought me here. Ultimately I found a home that I fell for and wanted to restore. I’d say that this helped inform my final decision to come back east.

How did you choose New Preston as a location for your new shop?

Let’s say that New Preston chose us. We really wanted to be the pioneers in Washington Depot and really tried for that but in the end New Preston made a lot more sense.

What is the philosophy behind Plain Goods? 

We wanted to create something that was reflective of our style and vision. The term unadorned always comes to mind. Our thing is less is more. Buy the right version of whatever it is you’re looking for and only do it once. Take care of it, enjoy it, and see it get better with use and time.

The village of New Preston is the go-to destination for high quality shops and goods in the area — what makes your shop unique from the other merchants? 

Our shop is very personal and curated. Andrew and I buy things that we love. We are drawn to simple, well made things that are built to last and that are somewhat classic in style and form.

Michael, as a revered stylist and designer, how did your passion for textiles come about?

Since childhood, I have always been drawn to the hand of things…how things feel. Be it clothing or furnishings, I am drawn to simple, utilitarian, and sturdy cloths. A good linen, cotton, wool, and cashmere will always speak to me. Natural fibers and colors are big with us at Plain Goods.

Andrew, as a communications and branding expert, how would you describe your aesthetic?

Tailored, easy, elegant. Our homes have a slight difference between town and country but you can tell that they’re related. I like things that are calming and refined.

Do you both collaborate on design projects together? What do you each bring to the shop?

We have collaborated on a handful of jobs and share a very similar sensibility. As far as the shop is concerned, we both pull a lot of weight. Sometimes the responsibilities are shared and other times I do what I do best and Andrew does what he does best. It’s a good mix.

Will you be carrying any merchandise from local artisans and craftspeople?

Yes, currently we have a wonderful line of pottery bowls by Sarah Griswold, a local potter. We’re always looking for things that will fit here nicely with what we already have. Be it local or far, it’s more about the mix and common thread linking our things together.

Will you be selling online as well as at the shop?

Yes, we’re working on it now.

What are your plans for the future of Plain Goods? 

Our goal is to have a strong clothing/textile component and leather goods, in addition to the current lines we stock. The decorating side of things is always present and our interiors projects keep us busy too. One step at a time!

Open Thursday to Sunday, 11:00 am – 5:30 pm
or by appointment.

Plain Goods
1 New Preston Hill Road 
New Preston 
860.868.0280
www.plain-goods.com

Chef Lisa Fielding and café owner Blane Withers have joined forces to launch a series of fun, communal dining events at the beloved Marty’s Café in Washington Depot.

Marty’s Café was brought to life as a tribute to the talent and distinguished career of Roxbury resident Martin O’Brien who lost his battle with cancer in 2005. Marty built a distinguished career in the luxury hotel and restaurant industry. He traveled  the world launching projects for such places as New York’s Waldorf-Astoria and St Regis Hotels; palaces for the late King Hussein of Jordan; ITT Hospitality; Ian Schrager Hotels; the Brazilian Court in Palm Beach; and private investment groups. Marty and his partner Blane intended to open a version of Marty’s Café together when Marty’s life was tragically cut short. Since it’s opening in 2006, proprietor Blane Withers has run Marty’s Café and made it the meeting place for friends and neighbors. Locals and visitors alike can always count on a great cup of coffee and a bite to eat while sitting back in its casual environment. Now, Blane has teamed up with Chef Lisa Fielding of Secret Ingredients to collaborate on a new series of dining events.

Lisa Fielding is a chef and writer who lives primarily in Bridgewater and services clients in Connecticut, New York, and Vermont (www.secretingredientsct.com). She also writes a monthly food blog that includes her delicious recipes on Happening in the Hills called The Duchess of Litchfield County (https://litchfieldmagazine.com/duchess/). For years, Lisa has been hosting her Secret Table dinners in Los Angeles and Connecticut. “The dinners are a beloved communal dining event intended to connect people and their passion for great food and wine.” Blane Withers is from Richmond, Virginia and spent 13 years in nonprofit publishing and adult education in Washington, DC before moving to New York with Marty in 1995 to join The Public Relations Society as its Marketing Vice President. “Marty and I started as weekenders in Roxbury Connecticut back in 1996. It was a mutual goal to eventually spend more time here doing something enjoyable—and together. While Marty’s life was tragically cut short, the gift of an idea led me to Washington full-time…”

The collaboration came to fruition at Marty’s with their debut on December 19th and it was a huge success. For the first event, Blane and Lisa transformed Marty’s into an intimate candle-lit haven. The menu began with cocktails and sparkling wine, followed by Appetizers, then a Salad and Boeuf Bourguignon on Crispy Polenta Rounds or Coq au Riesling on Brown Butter Potato Puree. Dessert was a Flourless Chocolate Cake with Brandied Crème Anglaise, and the evening ended with Assorted Cheeses, Fig Jam and Roasted Almonds.

“Secret Ingredients and Marty’s is encouraged by our first joint venture,” says Blane. “Our goal is to accomplish one event every month, and possibly more as high season approaches.” Experimenting with the communal dining experience and modifying a typical restaurant model for their pop-up dining collaborations is what interests the duo. Lisa and Blane both agree that what makes the possibilities so endless with this venture is that there is so much product and talent in the rural Connecticut community—from locally produced craft beers and spirits to talented musicians and artists.

Future events being planned include a traditional Tapas evening, a Sunday Jazz Brunch, a Winter Chili-fest, a night of Middle Eastern Delicacies, and a Summer Barbecue. Because Marty’s Café is not restricted by an existing evening dinner business, Lisa and Blane can use their imagination and partner with other local talents to create a truly unique food experience. Some of the future events will be complimented by live music and even art.

The next event—not to be missed—is on Thursday, January 28 and will feature a Mexican Feast. “An homage to my Mexican roots and a tribute to my Grandmother Rodriguez’s delicious and authentic cuisine,” says Lisa. The emphasis will be on fresh seafood, skirt steak, salsas, and use of fresh herbs and spices, such as saffron. “Not the heavy cheese and sour cream-laden dishes found in most Mexican restaurants.” Craft margaritas and Mexican beer will be served upon arrival, with homemade empanadas. Tickets are $45 per person.

This new partnership promises to create a new culinary destination for the Depot, bringing the community together in Marty’s intimate ambient space.

Local real estate expert Stacey Matthews goes shopping for the holidays in Litchfield County and brings back stylish gift ideas for men and women.

Happy Holidays!

Stacey

Stacey Matthews, is the founder and co-principal of The Matthews Group, a luxury real estate agency based in Washington Depot.

An installaion at the Tremaine Gallery by artist Field Kollop is both traditional and contemporary, reflecting the artist’s ongoing interest in metaphysics and quantum science.By Daphne Anderson Deeds

Field Kallop is an artist whose primary tool is gravity. Her exhibition, The Melody of Structures, currently on view at The Tremaine Gallery at the Hotchkiss School in Lakeville, is an elegant contemplation of physics, mathematics, and the unseen structure of nature. The work is hard to categorize because it is at once drawing, sculpture, installation, and — during a recent public event when she constructed the piece — performance.

As approximately fifty observers stood around the periphery of the gallery, Kallop calmly presided over the space. A trained dancer, her spare movements were both graceful and functional. Her stage was defined by a grid of twenty-eight directed overhead track lights. Twenty-eight evenly spaced lengths of cord hung from the rafters. Seven quartets of plastic bottles, and eight containers of sand sat in clusters at one edge of the space. Kallop methodically filled each bottle with a precise amount of sand, taped the orifice of each bottle, then attached each bottle to the end of one of the tethers. The sand’s weight rendered each vessel a pendulum. She systematically untaped each bottle, and using her arm as a fulcrum, she assessed the trajectory and released each bottle into a gentle elliptical orbit, causing sand to pour precisely onto the hardwood floor in delicate, ever-narrowing concentric ovoid rings.

The slight thrust of Kallop’s arm and the inflection of her weight on the propulsion of the hanging bottle register as tiny erratica on the otherwise consistent pattern. She filled each vessel with the exact amount of sand needed to complete each individual “drawing” so that an empty area remained at the center of each ellipsis. The sand traceries left by each of the twenty-eight pendula overlapped at their outer edges, creating an overall pattern that was both constant and unexpected.

When the completed The Melody of Structures graced most of the gallery’s floor, the finished work makes Kallop’s ongoing interest in metaphysics evident. Responding to both ancient traditions and contemporary genres that seek meaning through contemplation, The Melody of Structures is imbued with a meditative quality. The installation reflects Kallop’s study of aboriginal and Tibetan sand painting. The reiterated elliptical spiral forms suggest the vibrations of sound or the mathematical structures revealed by quantum science.

Kallop has been influenced by the work of Vija Celmens, Agnes Martin, and Sheila Hicks, artists who sought universal meaning in ephemeral details, repeated designs and minute substructures of the tangible world. As an MFA student at the Rhode Island School of Design, Kallop discovered the historic fabric industry of Providence. This seminal phase of her career is reflected in the overall design of the Tremaine piece, suggesting textile and rug patterns. One can also ascertain celestial references in The Melody of Structures alluding to the perpetual canvas of space that parallels subatomic strata.

It is an exciting moment in this young artist’s career. Her work is both thoughtful and assertive. It seems clear that we will see more of Field Kallop, an artist with a firm grasp of the big picture.

This year’s CultureMAX awards were given to four individuals and two organizations for their contributions to the cultural community of Northwest Connecticut. by Jessica Jane Russell

With impressive attendance for a Tuesday evening in late November, the gallery space at the Morrison Gallery in Kent was packed with over 150 guests for the second annual CultureMAX award ceremony. Artists, regional professionals, NCAC members, and awardees mingled at the beginning of the evening, enjoying Morrison’s current exhibit and hors d’ouevres from Gifford’s restaurant. Kristina Newman-Scott, Director of Culture for Connecticut’s Department of Economic Development, gave the opening speech for the ceremony. Then a series of one-of-a-kind brass sculptures, created by artist Dennis Bialek of Torrington, were presented to this year’s six awardees.

Beside a large projector screen displaying award categories and images of the honorees, each recipient gave a short talk about their field of work. The professionalism and dedication exhibited by these individuals was a testament to the diversity of cultural activity in the region, which the NCAC works hard to support and make more visible within the Council’s 25-town service area. Before 2014, there was no regional recognition event for those involved in the cultural community in northwest Connecticut.

The CultureMAX Awards were created by the Northwest Counnecticut Arts Council to recognize artists of all disciplines, heritage workers, cultural organizations, volunteers, philanthropists, and businesses that have elevated the stature of the arts and/or heritage in the region and in Northwest Connecticut. Established in 2003, the NCAC is a nonprofit organization serving both the public and the cultural community.

This year’s ceremony was held on Tuesday, November 17 at the Morrison Gallery in Kent. Sponsors of the 2015 CultureMAX Awards are 22 Main Street, Litchfield Bancorp, The Community Foundation of NW CT, VLC Images, Aquarion Water Company, and Morrison Gallery. “There was an overwhelming response to last year’s ceremony. People clearly desired a celebration in the region to honor those who make northwest Connecticut such a culturally exciting place to live,” explained Amy Wynn, executive director of the Northwest Connecticut Arts Council.

This year’s six honorees were: Vita Muir, founder and executive director of Litchfield Performing Arts/Litchfield Jazz Festival in the lifetime achievement category (new); John Marshall, internationally renowned percussionist and founder of Rhythmic Integration Center in the Artist category; Peter Vermilyea, teacher, public historian and author of Hidden History of Litchfield Hills in the Heritage Professional category; Edward Cannata of Torrington in the Volunteer category; TriArts Sharon Playhouse in the Cultural Organization category; and Infinity Hall in Norfolk for the culture-loving Business category.

Lifetime Achievement awardee Vita Muir expressed the sentiment of the eventing best: “One day I said to to my friend and dedicated Jazzfest co-worker Irving Northfeld, ‘You know, Irving, I think you’re going to do this work until you die.’ There was a pause, then he said, ‘Well Vita, maybe I won’t die.’” Following ripples of laughter from the audience, Muir continued, “So I’ve discovered the secret of life everlasting, which is to hook your star to the wagon of all the wonderful young people — it’s the most rewarding thing ever.”

Jessica Jane Russell is a roving curator here in the Hills. In addition to having a guest blog (link) on this site, her most recent curatorial project, WONDERMENT, is currently on exhibit through the new year at The Silo at Hunt Hill Farm Trust in New Milford. For more on Jessica Jane, please visit: www.jess-jane.com

CultureMAX
Northwest Connecticut Arts Council
(NCAC)
40 Main Street
Suite 1
Torrington
860.618.0075
artsnwct.org
info@artsnwct.org

At their studio-showroom in Bantam, Darin Ronning and Travis Messinger create amazing ceramics in many forms from tableware to custom tiles for floors and fireplaces.

The town of Bantam has a thriving art community, great restaurants, a cinema, and the lake. The best-kept secret, however, is Bantam Tileworks, a wonderful studio and shop where colorful bowls, platters, plates and tiles are handcrafted and finished with a deep, rich glaze. Since they set up shop next to Arethusa Dairy and Creamery in 2012, Travis Messinger and Darin Ronning, owners of Bantam Tileworks, have been creating stunning ceramics, often working directly with customers to help them achieve their aesthetic vision.

Their tiles and tabletop pieces are unique because of the multi-layered colors and depth of the glazes. The tiles start as wet clay that is wedged, rolled, dried, cut, dried again, fired, glazed and fired again on the premises. There are over 100 colors in the palette to choose from. Field tiles are used for bathrooms, backsplashes, fireplaces,or flooring. Special animal tiles are designed and hand-carved by local artist Karen Hiebert. There are shaped tiles which are sometimes used in an entire room or for an accent band. Whether used for large installations like entire bathrooms and sun-room floors or smaller ones like fireplace surrounds and backsplashes, the layered colors are what makes the tiles stand out in any room.

We love going to the studio to browse among those beautiful shapes and colors, and we usually don’t leave empty-handed. If you see a platter you like but would prefer it in a different color, Darin and Travis can turn out a new piece in a matter of a few days. With reasonable prices, stylish pieces, and great customer service, Bantam Tileworks keeps their clientele happy and coming back for more. We took a few minutes to speak with them about their backgrounds and to ask them about the business.

You used to have a shop in NYC, how did you end up in Litchfield County? Did you already know the area?

In NYC we owned and ran a shop with a cafe attached to it in the South Street Seaport area called Pepper Jones. Darin was working one morning and overheard one of the regulars describing a house in the Litchfield area. He is an architect with a passion for saving mid-century modern homes. The house sounded interesting so we came to look at it, never having been in the vicinity before and we immediately fell in love with the house. It was a getaway weekend home for 4 years until we decided to sell our business and move here full time.

Tell us about both of your backgrounds? Where are you from? Did you study art, pottery, or ceramics

Darin and I both grew up in the Minnesota, just outside Minneapolis. I had taken all the ceramics classes I could throughout school. The whole time living in NY Darin had taken tile making classes as a hobby, but neither of us has a degree in ceramics.

Who is your clientele? Locals, weekenders, tourists? 

Our clients really run the whole spectrum. Lots of times we work directly with the homeowners, but we do also work with architects and designers from across the country. Lots of our tiles are installed in Connecticut and the New York area, but recently we’ve also been doing a lot of work in Florida, California, and Chicago. For the tableware we sell almost exclusively out of our shop to both full time residents and weekenders. People love to bring their guests and family members who are visiting to show them the studio and showroom and just how everything is made.  Depending on the time of year we also do get a fair share of tourists—especially now at the peak leaf season.

What are some of your most popular pieces? Is there a color or color combination in your palette that is always in demand?

Our most popular items are the oval platters for $60. They are a great size and value for giving as a gift. Also popular are the rectangle platters. They are an unusual shape and again make for a great gift. The colors that sell seem to go in waves, depending on the time of year. Bright colors (blues and greens) sell well in the spring and summer. Oranges and reds are popular in the lead up to the holiday season. We have a couple of more neutral colors that are year-round good sellers. Since we layer the glazes, the “black” has hints of blue green to it and the “white” also has a blue tone to it. Food always looks great on these more neutral colors.

Are your dishes microwave and dishwasher safe? Are any of your dishes bakeware, for the oven?

The dishes are dishwasher and microwave safe. We do make a couple of bakers specifically to go in the oven.

Do you do everything in your studio — from design to bisque stage to firing in the kiln? 

Everything we sell is made here in the shop/studio in Bantam.  We mostly make the tiles in the main floor workshop and in the upstairs studio is where we mostly make all the dishes.

When you get a custom order for a backsplash or firplace mantel, do you do the installation or does the client hire a professional tile installer?

We have our hands full just making the tiles, so the clients have professional tile installers do the installation. We are lucky to have a bunch of tilers in the area that we’ve worked with in the past and can highly recommend if our clients need help finding a tile setter.

Have you ever had an exhibition of your work?

We haven’t really had a traditional exhibition. Currently we are working on tiles for a fountain that will be part of a public plaza in New York City on Broadway and 175th street in Washington Heights. It is 4 different mosaics based on different Native-American fabrics. The whole project is designed by artist Ester Partegas and funded by the Percent for Art program for the City of New York. It will be unveiled this coming November.

Are your pieces sold anywhere else apart from your shop and online such as in retail stores or craft shows?

We sell exclusively out of our shop. When we first started out we did attend various craft shows, but going forward we are planning to attend some of the home trade shows.

What is the most challeging custom order you have had?

Probably the most challenging job to date was an entire first floor of a house in Florida where we recreated the floor of the Palais Des Papes in Avignon France. It was about 16,000 4-inch square tiles in various colors with about 3,200 with hand painted with dragons and various symbols—all of them were unique designs.

What are your plans for the future of Bantam Tileworks?

For the future we are always looking to expand the items in our tableware line. This year’s newest items were the various sized vases. We’ll definitely be adding new shapes to the vases. Also one of the most requested item is a pasta bowl so we will definitely listen to our customers and add that to the tableware. The great part about making everything we sell is that we are always hearing new ideas from our customers and we can run with them.

Custom Projects: All prices on quotations honored for 90 days;
Average lead time is 4-6 weeks. Custom glaze matching service available. Custom trim is available. Please provide a profile of the desired shape for a price quote.
Shipping: Delivery is complimentary within Litchfield county. All other locations priced upon request.
Hours are Monday – Friday, 9:30 am – 5 pm
Saturday – Sunday, 10 am – 5 pm

Bantam Tileworks
816 Bantam Road (Route 202)
Bantam, CT 06750
860-361-9306
www.bantamtileworks.com

John Bourdeau serves up fresh, seasonal fare, exotic drinks, and a menu full of alternative selections for vegetarians and meatlovers at his hip restaurant.

Ever since John Bourdeau was 8 or 9 years old, he wanted to be a chef and run his own restaurant. He would read food magazines like Gourmet, and lots of cookbooks, learning as much as he could. Growing up on a farm in Woodbury, helping his parents raise cattle and other animals, he understood how important it was to begin cooking with food from the source. His parents also had a large garden with fresh vegetables, and they sold fresh milk. Later, John got jobs working in restaurants and learned on the job.

Bourdeau had plans to go to culinary school, but ended up working as a carpenter making a decent salary, while working weekends at a restaurant to keep learning about cooking. After working at a dozen or so restaurants, from fine dining to catering, and including a golf club, John finally reached his dream. It took him 20 years, but he did it. Three and a half years ago, he opened his own restaurant—Main Street Grill in Watertown. Like many well-known chefs before him, being motivated and driven helped him achieve his goal. “I love this industry for the people, the creativity, and the hard work,” says John. Having spent about 5 years working with his brother-in-law at Lucia restaurant in New Milford also gave John the know-how of running a business. He says it was a great experience.

How did he decide on Watertown as the location? “I felt that there was a need in the area as my wife Milly and I find our selves driving great distances for restaurants.” The location turned out to be a good one. His clientele comes from New Milford, Kent, Morris, Litchfield, Washington, Bantam, Woodbury, as well as Southbury, Middlebury and Waterbury.

The atmosphere at Main Street Grill is warm and inviting, as well as comfortable. It seats about 65 to 80 people. Great music is playing at a level where you can still have a conversation while having dinner. The space has a spare, modern look to it, a long family-style table in the center, booths along the brick wall, and smaller tables on the other wall. Tucked in the back, is a cozy craft cocktail bar where unique local ales, wines and spirits such as small batch liquors are served. Many of the beers offered are from Connecticut such as City Steam, Hartford, Two Roads Stratford and New England Brewing in New Haven; some wines are from Walker Road and Woodbury; and also from Litchfield Distillery in Bantam.

The menu has something for everyone – vegetarian, gluten-free, fish, meat, pasta… it looks like a very inclusive menu. John gave a lot of thought to it. “With the menu, I think that you may have four people going out together and one might be vegetarian, one may want seafood and another may be a big fan of steak.” The menu is a fresh-oriented menu. Everything is made from scratch. He doesn’t use a freezer except for ice-cream. Even the crissants used in their popular Croissant Bread Pudding are made from scratch at the restaurant. John describes the food he serves as New American Cuisine, with influences from all over the world. He uses ingredients from local artisans, mostly all-natural/organic food. “I have a great network of friends that own or work at restaurants in Manhattan and they just inspire me all the time. There is so much diversity in restaurants there right now that I can see something new and exciting every time I visit.”

Since he is known for his bread pudding and the pistachio cake at Main Street Grill, we asked him if he enjoys baking as much as cooking. He replied, “Yes I do. I opened the bakery program at Mateo Restaurant in Watertown when it opened. I baked all types of breads including focacia, Pullman loaves, baggettes and Italian loaves.”

When asked what the most satisfying and most challenging parts of the job are, John replies, “The most satisfying is when someone enjoys our food and the experience that we offer. It’s great when someone says I feel like we are in NYC but we are 10 minutes from our house. The most challenging is finding the time to do all the things that I would like to do like meeting new farmers and hosting specialty dinner events.

As for the future of Main Street Grill, John Bourdeau would love to expand the bar area and create a private area for small parties. And he continues to search out more local food and beverage supporters. For now, he is busy making delicious meals and serving a full house.

Hours are: Sunday: 11am–2pm
Monday–Wednesday: 5pm–9pm
Thursday–Saturday: 4pm–9pm
Takeout and catering are also available.  

Main Street Grill
663 Main Street
Watertown
Connecticut 06795
860.274.7788
www.letseat.at/663mainstreetgrill