"The thinnest yellow light of November is more warming and exhilarating than any wine they tell of. The mite which November contributes becomes equal in value to the bounty of July."
– Henry David Thoreau
Welcome to our latest installment of INK! It is hard for me to believe that 2024 is nearing it’s journey into the history books. This year flew by for me personally as there is just so much to divert ones attention to these days.
My hope for all of us here in the US is that no matter what political outcome is reached, that we all accept it, and then subsequently allow ourselves to get back to the real task at hand. A simple plan which to me involves living our lives, making new memories, charting our own personal courses and creating plans for ourselves. I am not sure when our government managed to achieved taking up virtually all of our attention. They have somehow all elevated themselves to rock star status where people hang on each and every muttered word. Truth be damned of course.
Personally, I don’t feel that the job of a government is to syphon off all of our energy. Living in a free country means that individually we need the ability to create our own realities. To forge ahead with our lives and with as littll intervention as possible, the government sets up basic guard rails.
I am not a young man anymore so I remember how sweet it was to have control over your own life. Where you believed what you believed and left the same amount of room for your friend and neighbors. Remember.
They are all pretty much full of crap and you deserve better.
Advertising Contributors
Carolina Marquez-Sterling - design
Gregory Post - editorial Jan Tormay - editorial
On the Cover: Pedagogically, Yes; Mentally Artist Jenny wu
Jeffery Lilly founder / publisher
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By Rona Mann Photographs Courtesy of the Estuary
The naturalist would define an estuary exactly as you see it written above.
But to 3000 vibrant, engaged people 50+ who live all over the Nutmeg State, the definition of an estuary is THE Estuary, that wonderful venue in Old Saybrook that is completely dedicated to an outside-the-box quality of life, quality of community, independence, and just for the heck of it throwing in a whole bunch of fun, good nutrition, transportation, activities, health, support, socialization, and oh yeah, if that isn’t enough, you can come to The Estuary to sweat...they’ve got their own fully equipped fitness center as well right on the premises. Altogether the two definitions above are not that different because like the coming together of the fresh and the salty combining in a place of transition, The Estuary in Old Saybrook very much holds its own place in nature.
Both equally share a popular spot for recreation, for the support of culture and tradition, and most of all, they offer those who visit a sense of beautiful independence to forge their own way in their own way, making a whole bunch of friends and laughter along the way.
If you’re not familiar with The Estuary, you should be! Not just because they are continuing to celebrate their 50th anniversary this year, but because for most of those 50 years, they never stopped celebrating... life, independence, diversity, and choice. Executive Director, Stan Mingione says with a broad smile, “This is definitely not your grandparents’ senior center.” A true statement, just ask any Estuary member because most any element one might think of to describe the “typical” senior center does not apply in any way at The Estuary. In fact, a quiet, dark atmosphere with people sitting around watching TV and playing bingo, is not what The Estuary is all about. Life here is about living and loving life. It’s about making friends and making choices. Now, don’t take this the wrong way. The Estuary certainly does have TV if you feel you want to sit in a comfortable chair, enjoy a cup of coffee, and watch awhile, but most likely you’ll soon be joined
by a couple of smiles...people who just want to make your acquaintance and share a program or two with you. And of course, The Estuary has bingo every Tuesday evening featuring a progressive jackpot with a maximum payout of $1000! It’s much too popular an activity not to offer, but there’s so much more to enjoy here that every month members are given a 16-page booklet of all the activities going on just for that month...and every month, every week, and every day, it’s always all about choice.
Here’s just a sampling from the current 16 pages of The Estuary Gazette. There will be a breakfast in honor of Veterans Day this month which is open to the entire community for only $5., but as a thank-you to honor their service, all veterans eat free. Do not miss the Holiday Craft Fair just before Thanksgiving or the educational series of Planning to Age in Place seminars with information on everything from proactive planning, managing costs, and preparing your home to safely living there as long as possible. There are ongoing social services,
book chats, memory care screenings, and a walking track sponsored by Old Saybrook’s Park and Rec Department free to members of the Estuary on select days. Hey, how about working out (your grandpa never did that at his senior center!) right here with one-on-one individualized training available if you’d like, medical outpatient transportation, and Meals on Wheels service to nine area congregate locations: Chester, Clinton, Deep River, Essex, Killingworth, Lyme, Old Lyme, Old Saybrook, and Westbrook.
Lunch is served every day at Noon Monday through Friday right at The Estuary with additional cafe sites in Killingworth,
Clinton, and at the Lyme Senior Center. All food is homemade right in-house designed by an in-house dietitian and fully approved by the state. Meals are supported by Senior Resources with additional funding from the Older Americans Act, so a small donation is suggested but never required. Between their Meals on Wheels Program and their cafes, The Estuary serves more than 100,000 fresh, delicious meals every year to a wide area of southeastern Connecticut seniors.
There’s also guided meditation so you can embrace and refresh your inner self, MEDICARE counseling services, card games, writers and artists’ groups, haircuts, a full range of support groups, and escorted bus
trips to a variety of places ranging from the casinos to flower shows and expositions, Radio City Christmas in New York, and more.
Book clubs, watercolor classes, mahjong and cribbage, needle crafting, and quilting; even tech time, so you don’t need your nine-year-old grandson to help with your laptop, or iPad while he rolls his eyes. Why? Because you’ve got Brian right here at The Estuary, and he promises not to roll his eyes at any question or problem you can’t solve with any device you may have!
Yes, The Estuary’s come a long way in those 50 years. When it was first opened in 1974 there was no permanent location,
Owners, Matt and Lita Bondlow
so they spent those first 15 years in church halls, VFWs, and other non-profit temporary locations. Happily, in 1993, The Estuary found its permanent home right here. Always working toward a goal of making it a welcoming, vibrant place for its members, during Covid a complete renovation was completed, opening up common areas, modernizing, and making the entire venue lighter and more airy than before.
With more than 21 now on staff and over 200 volunteers, there is literally a “village” of people all working together to make The Estuary the success it is, truly the pride of the Shoreline where age is neither looked down upon nor coddled...it’s celebrated loudly, proudly, actively, and wildly with all the gusto folks can give it. As Executive Director Stan says, “We take a holistic wellness approach to aging.”
It’s a curious mix, the continuous blending of the fresh co-mingled with the salty and that applies to not just the people who love coming to The Estuary, but to the activities that are available as well. It’s a well-loved mix of recreation, culture, and tradition, all constantly transitioning and most often found where one meets another…continuously and joyously. This is The Estuary. So, if you haven’t discovered it yet, stop in where they are at 220 Main Street - and let them meet you where you are. We’re betting that together you’re going to have a ball!
50 Years and Still Transitioning. There’s absolutely no better reason to celebrate.
The Estuary is located at 220 Main Street right in the heart of Old Saybrook. Open to everyone in the state. No membership fees, just fun, learning, friends, and always, plenty of transitions...both fresh and salty. (860) 388-1611
50th Anniversary Celebration
Stan Mingione Executive Director
The Estuary Board
The Estuary Staff
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MAINE STORIES
October 4 - November 16, 2024
An Exhibition Celebrating Maine’s Rugged Beauty
Annual Holiday Show Opens Friday, Nov 22, 5-8 pm
SUSAN POWELL FINE ART
679 Boston Post Rd, Madison 203 318-0616
Paul Brahms, Table Rock, Acrylic, 18 x 24”
Kevin Beers, Monhegan Nocturne, Oil, 36 x 36”
Jeanne Rosier Smith, First Thing, Pastel, 8 x 8”Jonathan McPhillips, Candy Shop, Oil, 18 x 24”
Ken DeWaard, All is Quiet, Oil, 12 x 16”
The Eugene O’Neill Theater Center
By Nancy LaMar Rodgers Photographs by Vincent Scarano
eorge C. White, founder of The Eugene O’Neill Theater Center, is a prolific storyteller. We are gathered in his home on the Long Island Sound in Waterford, Ct., and White shares story after story about not only his life but more importantly his life’s work, which are, after 60 years, essentially synonymous. For the past six decades, George and Betsy White have stood as pillars of an idea, Greek columns holding up a vision and much like a costume designer inspecting a roll of fabric, might think, “what can I make out of this” White asked the same question regarding a sprawling piece of waterfront land, home of the former Hammond Estate.
On this late Spring afternoon, the sun is streaming through the windows and bathing the table with dappled shadows as George and Betsy sit close to one another, hosting the bevy of friends and family that move in and out of the parlor room. It seems that George has taken a few meetings this day and will continue after we leave.
George explains what happened that afternoon in the early ‘60s.
“We were out on the boat and my father explained that the town was going to use it to train the fire department. I thought what a waste that would be and that surely there could be something else to do with it.”
A natural visionary George believed that there could be something better and with that one motivating factor, he started talking to people who he believed might share his view. Having attended Yale for his undergraduate and then graduate degree from the Yale School of Drama, he started there.
“Originally it was going to be an adjunct to the Yale Drama school.” George points out that the Dean at that time, F. Curtis Canfield, gave George his full support.
“Dean Canfield, loved the idea but then the Yale Corporation turned it down saying it would be too expensive.”
George & Betsey White
George explains that he brought it to Dean Canfield because he had no interest in going back into theater.
“I didn’t want to go back into theater. I swear. They railroaded me,” he tries to remain serious as he smiles wryly, giving us a humorous wink, as he references his time in television at Paramount working with producer David Susskind.
“I was working for Paramount in television, and I was happy with that. But after the Yale Corporation turned down the idea, Dean Canfield, who had been so excited for it, expressed to me that he would do whatever he could to help.”
George further explains that at that time, Eugene O’Neill’s widow, Carlotta Monterey was talking to Yale regarding her late husband’s collection and for George this was a serendipitous situation presenting itself.
“I took Dean Canfield up on his offer to help. I asked him if he could get permission from Carlotta, to name this place, The Eugene O’Neill Theater.”
Ten days later he received a letter from Carlotta Monterey granting permission and for George, “that was the linchpin.” The Eugene O’Neill Theater Center was born.
With the birth of the theater came the birth of George’s incredible experiences over the decades. He sits back and takes a sip of water, lost in some lovely memories and shares with us a few of them. Recalling his story of a dinner at a well-known restaurant and its owner who was “connected” as they say, and
the table that George and his Sundance crowd were given. As he recalls the experience, George slips in and out of Italian, which he is fluent in because of his mother, Aida Rovetti. He sidebars for a moment to explain his Italian heritage and pivots right back to his story, but not before letting us know that it was because of his mother’s maiden name, that the restauranter would grant this favor and take care of his people.
“I called over there and it was the Saturday of Memorial Day weekend, so I knew what I was asking. I had 10 Sundance board members and Redford with me, who was at the height of his popularity. They meet us at the airport with a fleet of old-fashioned Cadillacs.”
I picture the fleet of finned Cadillacs, like a convoy, escorting the group to the crowded waterfront restaurant. George continues and with a twinkle in his eye, he smiles broadly as he recalls how Signor Filippi positioned the group at a table that would give all the women in the restaurant the possibility of seeing Robert Redford up close.
“Let’s just say there was a sudden run on the women’s bathroom.”
It’s an unexpected punch line and we all laugh. His stories are layered and sensory. You can hear the laughter, feel the excitement, smell the environment and you are drawn in. He shares a few more recent ones and then shares a tale about his time in the army and the show he put together on the Czech border with none other than fellow soldier, Elvis Presley. George goes on to describe the experience as something rather ordinary.
“Elvis asked me, ‘hey George you’re in the theatre right’ Let’s do a play.’ And so, we did.”
And this is who he is. A man so enthralled with the adventure of life and the possibilities of creative endeavors that he almost
N.P.C. Michael Douglas and George White
George & Betsey White
original mission has always been and by providing the space, the time, and the support for unknown playwrights to develop work in a setting that honors and celebrates the process, the O’Neill has met with unparalleled success.
Tiffany Gavin, current Executive Director, who has spent 20 years of her career working in NY, talks about how incredibly freeing this can be to the writers as well as all the creatives involved.
“Most of the time, you do a workshop in NY, and you generally do it in front of industry professionals, who might be there in the middle of the day, looking at their watches, needing to run off to another
doesn’t recognize how much his worldview has contributed to the extraordinary success of so many. Writers, directors, actors and actresses, have all benefited from not only the remarkable vision of George White, but more importantly his commitment to creative collaboration.
The resounding philosophy behind everything has always been “come on in, what’s your idea?” This synergistic and inclusive theme established the O’Neill as a place where all are welcome. There was no need to be known or bankable in your field. This philosophy, for the past sixty years, has allowed The O’Neill, to bring the best new voices to the forefront. This is what the
George C. White presenting Yale’s Morys Cup
George C. White, founder O’Neill Theater Center
meeting, etc. They are not a typical audience. But to be here and to actually be able to get the response from people who appreciate and understand work in development and want to be part of that process, that’s the magic.”
Gavin is expressive as she recalls her first time visiting the O’Neill and how the musical that she was managing seemed to transform itself once the writers had hunkered down for a month on the inspirational shoreline.
“The musical when I initially read it, wasn’t quite formed and then they came here. I remember coming up for the presentation and I thought, ‘what the heck happened, this is an actual musical.”
In that moment, Gavin understood what everyone had been talking about. She recognized that this was indeed the “O’Neill magic.”
Photographer, A. Vincent Scarano, who has been photographing the O’Neill since the ‘70s understands quite well, this phenomenon and the way George not only gathers people but more importantly how he is able to renew the process and inspire year after year.
“One of the things that happens here is that when people leave, they take all the knowledge with them and the new people coming in often start from scratch,” explains Scarano and adds, “but George remembers.”
Gavin reiterates, “that is what is so incredibly helpful about George. He remembers everything and he knows everything about this place, and he is still so incredibly aspirational about it. He doesn’t look at it as this is what it is. He is not precious about it must be this way all the time. He is the best person to talk to about what can we do next.”
When the O’Neill opened its barn doors in 1964, in strolled a group of our most talented playwrights, directors, actors and actresses, and while they may not have known it at the time, George and his small group of supporters were creating what is now considered one of the greatest contributions to the American Theater. The 20th century would see the development of what many refer to as “The O’Neill Process”, which would take flight and serve as a model process for The Sundance Film Festival. Unknowns and beginning playwrights brought the work, and the expansive shoreline, the peace and quiet, the “off the beaten path” feel, gave them the space and time to immerse themselves and develop some of the world’s most cherished acts to ever make it to the stage.
O’Neill Mansion
This visionary approach of what “could be” has been the cornerstone. How else could an “off the beaten path”, 120 miles from Broadway to be exact, space become the mecca for so many of our 20th Century prolific writers and budding thespians, the likes of August Wilson, Edward Albee, Arthur Miller, Meryl Streep, Robert Redford, Michael Douglas, Danny DeVito, the list goes on. The O’Neill became, not just a summer home for so many, but a birthplace for ideas, collaboration and creative endeavors. A shoreline oasis where the work was stripped down to the raw material. A writer’s paradise and an actor’s dream.
Television director, Roger Christensen, made his way over to the O’Neill before he was even out of high school. Christensen who was also instrumental in developing the Sundance Film Festival, talks about those days and how everyone who was showing up instinctively understood that this was going to be something special. The place seemed to have a buzz, an energy that ignited anyone who came down the path.
“When this place first started the town thought crazy people were up here, weirdos from NY, and to some extent they were right, but it was the beginning of an artistic community.”
Christensen goes on to talk about how committed George was and still is and would not let such aspersions deter him from seeing the possibilities.
“The thing about George is his vision. When he brought in Lloyd Richards from Yale to develop and run the National Playwrights Conference, it was the only thing that was happening in this area in the summertime.”
And it was because of this vision that the NPC has grown exponentially and has attracted writers from all over the world. Christensen, who has attended many of the Board meetings describes George as “the youngest thinker.” Even though George is well into his eighties, Christensen explains, “he is the most creative and maybe his ideas are a little outlandish in general, but he’s always pushing, he wants new things to happen.” “Even today,” Christensen, obviously amused, adds, “I’ve only been back here a couple weeks and I am already involved in a project that George has going.”
Vincent Scarano points out that George has always had the ability to see what is there as opposed to what is missing.
“This is what the O’Neill does. This is how George sees things. Things happen because George can see the possibilities. It’s all part of the process, it’s part of the magic.”
Speaking with actor Michael Douglas about his experience with the O’Neill, I ask him how it came to be and about meeting George for the first time.
Tiffany Gavin Current Executive Director
“It was because of my stepfather William Darrid who was one of the original Board members of the O’Neill, which George had just created the year before. Bill talked to me about what I wanted to do because I was undeclared in college and wasn’t really sure exactly, and Bill said to me, ‘let me talk to George and see if you could have a summer job over there’ and so he did, and I went to the O’Neill that summer. I did mostly odd jobs, maintenance, gardening, whatever they needed, and it was just for the experience of staying there. I was there for that summer, and I loved it and what I learned has stayed with me my entire career.”
Douglas goes on to talk about George and their ongoing friendship, pointing out that George’s vision and collaborative nature is the foundation of The O’Neill and his uncanny ability to bring people together and nurture dreams to fruition is just unparalleled.
Edith Oliver Theater.
Al Hirschfeld caricature of George White
“When I met George, my first impression was that he was very British, well-bred, very New Englandy, very disciplined and just a great guy, with a twinkle in his eye.” He chuckles as he recalls that memory. “And George is a great salesman, he has that Music Man quality. Come to the barn and we’ll build a theater,” Douglas laughs. “And I think that his dream in creating The O’Neill was so imaginative and incredibly substantial.”
For Douglas, George White is the epitome of what can happen when a visionary surrounds himself with great talent.
“When you think of all the people who have come through there, the writers like John Guare and Israel Horovitz. I met Danny DeVito there and so many incredible directors and actors and actresses who I became friends with and am still to this day.”
Michael Douglas and George White
Douglas gets a bit reminiscent and adds that, “I have always been very fond of George and Betsey, and I will always remember my time there and I continue to support them because not only is it is a great organization, but it is also an incredible achievement to be 60 years old.”
I smile as I listen to Michael Douglas, and I think about that achievement. An achievement that started with a vision, on a boat ride on the LI Sound where a young Yale School of Drama student looked across at a piece of land, an old mansion, a forgotten estate and asked himself, “what can we do with this?” And so, in answering his own question, George White, along with his wife Betsey built an institution, and ushered in a shoreline field of dreams. And with that steadfast vision of what could be, and an indomitable spirit, George C. White and The O’Neill has nurtured and bequeathed to the world some of our most distinguished and notable playwrights, directors, actors, actresses, and they in turn have given us all some of the most memorable and captivating moments in theater history.
https://www.theoneill.org
Betsey and George C. White pictured full spread
Betsey and George C. White & Family
This exhibition highlights the work of African American artists who are reshaping the world of contemporary art. With 46 fine art prints by 17 different artists and a large-scale basketball pyramid installation by California artist David Huffman, this exhibition presents a powerful array of figurative and abstract art.
ON VIEW THROUGH Jan. 5, 2025
Lyman Allyn ART MUSEUM
Kerry James Marshall, Untitled, (Handsome Young Man)
with aquatint, 24.5
in., courtesy of Paulson Fontaine Press, Berkeley, CA.
Celebrating the African American Artists of Paulson Fontaine Press
A Useless Tree Is A Tree, 2023, partial view Latex paint, resin on wood panel, 37”x29.5”x2.5”
enny Wu refers to her sculptural paintings as “in-between painting and sculpture,” it genuinely fascinates her. A cross-section of sculpture and painting while juxtaposing order and chaos with her innovative method. They have a creative, inventive spirit and fresh appearance, with curious wit and whimsy in their titles. Wu creates these unique works by assembling topographic geometric tesserae using layered latex paint poured and dried. The resulting slabs are cut into various line sizes, shapes, shards, and cubes, creating innovative and colorful sculptural paintings. The composed imagery challenges traditional painting and sculpture conventions.
Jenny explains that while studying traditional methods and learning the foundations of painting, she realized there was room for improvement. “I wasn’t the best at the more traditional style. Others were better.” At this crossroads, Jenny aimed to find a way to differentiate herself from that conventional genre. She wasn’t content to replicate what she saw but desired to express her voice in her work. The realization ushers in years of experimentation and has shaped her distinctive style.
Jenny Wu was born in Nanjing, China, and her journey to self-expression through Art began at an early age. A restless, fidgety child, her mother sought a tutor in Art and music to help her focus, believing the 3-hour classes would help. First with a musical instrument, then with drawing and painting. Jenny recalls the moment she was captivated by the ability to see something, like an apple, plant, or shoe, and duplicate it onto paper. She says, “Art found her.” This early fascination with Art is part of the energy behind her artistic journey. Jenny attended an art high school in China. “It built a strong foundation for observational drawing and painting skills.” Still, on a certain level, she felt torn because it limited her opportunities to study other subjects, such as math and science. In China, you must declare your future course of study before your freshman year begins. Jenny was still determining if she wanted to pursue Art. She was discouraged and bored, looking for time to decide. That dilemma led to her decision to come to the USA to study, which allowed her some time and a more comprehensive range of academic choices before settling on Art.
At 18, Jenny packed her bags and took her first step into America onto the Hobart and William Smith College campus, where she earned a B.A. in Studio Art and Architectural Studies. Settling into college life, she took a drawing class, admitting she was looking for a manageable course load because her English wasn’t that good. Banishing Jenny’s boredom, the drawing class taught her infinite possibilities about what she could be and do as an artist. Motivating her to go further and to delve deeper. Later, she earned her MFA at American University in Washington, D.C. Given her earlier studies in architecture, it is evident that the marriage of math and Art is thoroughly imbued in her current expression in sculptural painting.
This is the work of many years of experimenting with color, form, shape, and materials that create her contemporary abstract sculptural paintings. The dried paint waves, surges,
Artist Jenny Wu
oscillates, and streams. They are uniquely clever: As you stand away, you have one feeling, but the closer you get, you see intricate patterning within the more significant pattern of the work. She uses Behr paint from Home Depot to pour color combinations into the silicon trays. After the layers dry, which can take up to four months, Wu carefully reorganizes the sheets by slicing them into different sizes and placing them on top of a wooden panel to form designs. She then gives the entire work a resin coating to give it a glossy appearance and protection. As a result, numerous vibrant, mosaic-like pieces with different color schemes and patterns are produced.
Jenny Wu’s creative experiments have resulted in a “new” form of work that mostly fits in with the “minimalism wannabe” movement, she says with a wily smile. However, she quickly says, “It is only some pieces. Many others are chaotic and exhibit much movement.” From a distance, they are simple but, on closer inspection, chaotic. The duality is what makes these pieces sing. Still, she admits that she would like it to embody more of her culture and personal experiences. She adds that she
is still learning and strives to incorporate more of these aspects into her work.
When I asked if anyone influenced her work, she mentioned Linda Benglis, a painter/sculptor known for her sizable physical “paint pour” installations, Ian Davenport’s colorful polychromatic “lakes and puddles” of paint, and Gabriel Dawe’s installations of thread woven to create enormous
sculptural textiles. All three are evident influences in her current body of work.
“I like the systematic grid. But there’s also an element of surprise. I’m always aiming for a balance of clarity and surprise.” I perused her paintings online, enlarging them to get a closer look at the details. There is an element of organic creation but, again, methodical, thought-out color combinations that often bring an element of surprise. Upon hearing this, she shifts her camera to a wall with numerous sketches and plans for future pieces.
One sketch shows purple waves, softening as they dive and deepening as they crest, undulating light and dark. I ask if she ever gets the wrong color. Jenny replies, “I have a rough idea, based on experience, how much each color is needed and what the color will look like at the outset.”
Early in her investigation, the colors were random, mainly because she bought sample sizes and the “oops” cans at hardware paint departments. These paints were a quarter of the price, so they were not cost-prohibitive. She was working on 8” x 10” panels then. “So, each layer is thin, which results in the colors starting to blend in too much, if you look from far away.” Jenny now buys in more significant quantities, making the layers thicker. These days, the main thing is to thoroughly dry the paint layers. “Otherwise, it’s going to ooze like a lava cake.” We discussed her color pallet and found that there are a few subtleties in using primary, secondary, and
Why Is The Default Voice Always Female, 2023, Latex paint, resin on wood panel, 24”x24”x2.5”
In Nanjing Only People Above 95 and I Are Still Using Cash 2023, Latex,paint, resin, on wood panel, 24”x24”x2.5”
Is Maybe A Polite No?, 2024, Latex paint,resin on wood panel,20”x20”x2.5”
A Set of Lies That Have Been Agreed On, 2023, Latex paint, resin on wood panel, 14”x11”x2.5”
Pedagogically, Yes; Mentally No, 2023, Latex paint, resin on wood panel, 24”x18”x2.5”
even tertiary hues. She exclaims, “One day, I will make a gray painting to match her cat. I have a 5-gallon bucket of gray paint.”
I’d be remiss if I didn’t mention the paintings’ titles. I am intrigued by their meaning because they are clever, humorous, and specific, but the work is abstract. It adds another element to the experience of viewing Jenny’s work. For example, “Is Maybe a Polite No,” “Why Is The Default Voice Always Female,” In Nanjing, Only People Above 95 and I Are Still Using Cash “ “A Set of Lies that Have Been Agreed Upon.” She explained that she has a separate journal with a collection of sayings and sentences captured from social media and live conversations she hears while in the world. She looks at her list and decides what feels right to go with a work. Sometimes, nothing fits, so the piece is put aside and awaits its name.
I asked about the section on her website entitled “Art for the People Project.” A mosaic of photographs of latex cubes in images taken in places worldwide. Taking inspiration from the artist Felix Gonzalez Torres and his portrait Ross, which consists of an exhibited pile of candies, that viewers are encouraged
to take from the artwork. Jenny’s work conceptually differs from that, but it sparked her imagination and enthusiasm. She has leftover latex strips, cuts them into cubes, and offers them free during exhibits.
“I think people are fascinated by the idea. You can take things for free from a gallery. Usually, you have to pay for those things.”
I agree, especially when most galleries are a no-touch zone. It’s inviting and provides a mode to collaborate with an artist in a small way and make them feel like part of something.
Above: Jenny Wu’s Studio Assistances Murmur and Meimei.
View of the studio and several paintings seen in process
Jenny working on a painting/sculpture. Detail: Placing shards of latex on piece.
When I asked Jenny what her goal was with her Art or as a human being, they often go hand in hand. She replied merely, “To open a new category of work. I want something that isn’t there already. Inspire a new conversation for the future.” She further expresses, “My ultimate goal is for my works to provide something else that other paintings are not giving people. I want my work to be discussed when I die. That would be great.” She closes with, “Yeah, that’s the ultimate goal. I don’t want to be super famous, so I cannot grocery shop. That’s not a good way to be famous.”
In her hometown in China, the expression “Ai Yo!” conveys a wide range of emotions, from displeasure to marvel. Jenny undoubtedly illustrates the amazement and wonder the words communicate.
Jenny Wu is a Visiting Assistant Professor of Fine Arts at Trinity College in Hartford, CT, and the chair of Touchstone Foundation for the Arts in Washington, D.C. You can see Jenny Wu’s Works online: https://jennywu.art She is represented by Morton Fine Art in Washington, D.C. https://www.mortonfineart.com/artist/jenny-wu
Tom Swimm,
What is Greg Drinking?
Cabecas do Reguengo-Respiro Clarete
As far as months go, November is anything but boring. This year there are more moving parts than usual. An historic election is being decided as you thumb through this publication, and that is a meatball to digest all by itself. Factor in the holiday season being in full swing, and you might be ready to crawl under your bed until the New Year. While the impulse to lay low and hide might be tempting, maybe this is a sign that we all need to try harder to find some meaningful middle ground. It is in that spirit that I offer to you a blended beverage that takes some of the best qualities of Portuguese red and white grapes: Cabecas do Reguengo-Respiro Clarete.
In the active setting that is a coastal vineyard, the camps are often announced as the doors swing open. Friends and acquaintances, family and coworkers, informing everyone nearby that they are decidedly in the “red” or “white” camp and cannot be persuaded. Whether you are an oak chardonnay celebrant or a professor of pinot noir, wine is one of those things people are willing to plant a flag over. Coming from a state where the Connecticut River often indicates whether you are rooting for a Boston or New York sports franchise, I get it. So can it be possible to marry the two extremes in a way that makes everyone happy? The winemakers at Cabecas do Reguengo seem to think so!
This wine has a lot of things going for it. The founder, Joao Afonso, first came to fame as a premiere ballet dancer. In the mid-nineties he began making small batches of wine out of his garage, expanding slowly with an extreme focus on organic farming and old vines. The resulting product is a collaborative effort of three different centennial vineyards, all in a 600-meter altitude planted in and around various native flowering plants and fruit trees. The varietals, over ten in total, are red and white (with a 70% white-30% red breakdown) Portuguese and are vowel-heavy enough that I won’t toss them into this article to test your pronunciation skills! These various hillside harvested clusters are then fermented in cement.
The wine pours into the glass with a silky light red that would make any dahlia at the farm stand blush. The herbaceous nose that is delivered is all rosemary and sage, so you can see where the Turkey Day vibes are starting to come from well in advance of the first sip. I tried it with a little chill on it and then compared it at room temperature the next day. Personally, I prefer it with a little time in the fridge. Yet this wine is as flexible as your waistband needs to be for the food-focused gatherings in front of us. The tannins are subtle but not lacking structure and the vino is held together despite of all preconceived notions about such a blend. The acidity is lively and punctuated by pops of apple and pomegranate that never overstep or underwhelm their place with your palate. This is a properly dry wine that can be embraced by the fruity vino enthusiasts in your social circles. It could as easily be paired with stuffed mushrooms as the featured protein of choice, regardless of whether that selection came from land or sea. Savory is the song this wine sings, and savor it you should.
One look at this bottle, and you are drawn in by the presentation of something out of the ordinary. Cork hiding behind a sheet of white wax sitting above a label with dozens of different colors circling around the namesake in the most beautiful way. It invokes the true American spirit, not a melting pot but a salad bowl with each component being different yet so incredibly essential. The vineyard cites an old Portuguese proverb when introducing its style: “Nobody can do things fast and well.” My niece, from Cove Ledge Wine and Spirits fame, dropped this wine off when I was at a loss for the right wine for this season and moment in time. Truly perfect for all occasions and a shareable beverage at a time when we need it more than ever. Regardless of your affiliations in the voting booth or ballot box, we all deserve to be able to raise a glass to a peaceful and prosperous future.
Respiro means“breath”in Portuguese, clearly an homage to the place of origin but also a good indication of the lightness of the beverage.
Gregory Post is a manager at Saltwater Farm Vineyard, affiliated with Kingdom of the Hawk Vineyard.
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Continued from the October issue.
Our “between cruises” day was spent covering as much of Rome as possible in a day. While it is said Rome wasn’t built in a day, we covered quite a bit in a day … nearly 33,000 steps in fact. We took the train (comparable to the Acela but only $7) from the port into Rome, walked to and around St. Peter’s Basilica, then visited the Coliseum and Palatine Hill, and back to the train after stopping at Eataly for gelato. (There are Eataly stores in New York and Boston if you have a craving but proximity to Rome is a factor). Tip: Purchase tickets to the Coliseum online before traveling to save lots of time in line when you’re there.
The following day was a “Sea Day,” which gave us the opportunity to meet the new guests. Demographically, the makeup was quite different from the prior week. And while there were fewer passengers, they were louder (let’s call it “festive”). Speaking with the cruise director, the Italian itinerary tends to draw fewer Americans and more Germans than the French itinerary. There was a group of 10 from Brazil, and more representation from Australia and New Zealand. Now, I’m not saying which
folks added to the liveliness, but the week two vibe was different than the week one vibe. Our Sea Day activities also included mast climbing, knot tying class with a rigger, and Latin Dance Class with the cruise director. We anchored at Lipari, Sicily the following morning and toured Vulcano island by boat. Vulcano is a small volcanic island in the archipelago of the Aeolian Islands. The volcanoes are considered active, and hydrothermal activity and steaming fumaroles may still be seen. The island is covered with pumice and obsidian. There’s lots of history here, good black sand beaches … and mud baths, though technically the mud baths are off limits.
After dinner, we navigated around Stromboli Island, off the north coast of Sicily, containing Mount Stromboli, one of four active volcanoes in Italy. Having never seen an active volcano, I found this view eerily warm.
The next day we were off to Messina, a city and port in extreme northeastern Sicily. Personally, Messina was my least favorite stop but I’m not a city girl. Messina is a must-do for cruise ships as it’s a great jumping off point for tours. It was crowded with passengers from huge cruise ships and plenty of people pushing taxi, train and bus tours as soon as we were on land.
The city’s main attraction is the bell tower of the Cathedral of Messina, the biggest
eature by Susan Cornell Photographs by Susan and Bob Cornell
and most complex mechanical and astronomical clock in the world. At noon a complex system of counterweights, gears and levers determines the movement of the gilded bronze statues located in the façade. They are related to the religious and civil traditions of the city. This was an amazing thing to see and listen to (there’s an enormous lion roaring from above, a super-sized rooster crows, followed by the emotional playing of “Ave Maria”).
the clock. At the top you get a beautiful view over the city of Messina and its strait.
Star Flyer left Messina late afternoon through the photogenic Messina Strait.
Safari” could board the lifeboats to take pictures of the Star Flyer under full sail. Absolutely! What a sight to see the sails unfurl on a perfect sunny morning.
The Clock Tower can be visited inside. Along the staircase, you can see the bronze statues and the ingenious system of levers and gears that generate the movement of
While on our way to Amalfi the next morning, the captain announced that those who would like to participate in a “Photo
There were two tenders full of eager photographers. Our lifeboat, however, had engine problems and soon the Star Flyer was farther and farther away as the crew radioed back and forth. A cargo ship passed and we joked a bit nervously about being rescued. The waves weren’t too bad until the wake of the cargo ship. It probably wasn’t as long as it seemed, but it seemed long before the other lifeboat returned for the rescue (crewed by Star Flyer’s Chief Mate, ship’s nurse, and others) and towed us back to the mothership.
That was an eventful morning and then I realized that we had booked “Positano by Boat” for our afternoon activity and, honestly, I’d had enough of boats for the time being. Oh well, “back on the horse” and off to Positano we went. This chic seaside idyll is well known for its narrow cobbled streets, fashion, and stylish boutiques. Positano is just delightful, and I’d love to spend a few days rather than hours.
Since the ship wasn’t sailing again until nearly midnight, we still had time to visit Amalfi at night. Amalfi is another must-return to. There were fireworks, a symphony playing outside the Amalfi Cathedral,
and so much charm and history. Again, a couple of days rather than hours would be perfect.
We headed to Sorrento where again we anchored and tendered. Sorrento overlooks the Bay of Naples in Southern Italy. It’s very walkable and is the Limoncello capital of the world. Limoncello, a digestif made from lemon rinds, alcohol, water
and sugar, is produced here, and even if you’re not a fan, you’ll be able to find anything you could dream of with lemons on it ~ fabric, jewelry, ceramics, and every tchotchke under the Mediterranean sun.
Our final day was spent in Ponza, the largest island of the Italian Pontine Islands archipelago in the Tyrrhenian Sea. If you didn’t know Ponza was in Italy, you’d think the captain miscalculated and had taken the ship to Greece. The pastel houses of the town rise in terraced rows from the harbor full of fishing boats. There are few tourists here, so wandering the unspoiled town is wonderful. Ponza is often confused with nearby islands like Capri and Ischia, except Ponza has no active volcanoes.
A boat tour of the dramatic rock formations with time to swim in the coves and grottoes was offered but we explored independently. We hiked to Monte Guardia, not having any idea what we were doing or even what Monte Guardia was. That’s part of the beauty of vacation ~ unplanned fun, though probably closer to Type II fun*
*Here’s a summary of the types of fun, FYI:
Type I Fun - this is fun the whole time you’re doing it. You could do it again and again.
Type II Fun - this is not fun while you’re doing it, but you’re glad you did it. ...
Type III Fun - this is not fun at all, and while you might take pride in having done it, you’d never voluntarily do it again.
The hike uphill on what’s probably a donkey trail wasn’t easy, but the views were spectacular and so worthwhile. Plus, with the exception of a few iguanas, we had the whole place to ourselves … not even a donkey.
When we returned home, we found Monte Guardia (Semaforo di Monte Guardia) in Atlas Obscura and learned that this abandoned semaphore station found at the highest peak on the island hearkens back to the days of the optical telegraph. Il Semaforo was constructed during the 1800s around an older watchtower from the 16001700s. Old nautical maps label the site as the “telegraph”.
The site was abandoned during the 1950s. It’s now in a ruinous state and fenced off, though we noticed a break in the fence that allowed (invited?) us to explore (trespass?) the interior.
One of our favorite customs/traditions that takes place aboard all the Star Clippers ships, which we knew about having sailed on Star Flyer’s sister ship the Royal Clipper years ago, is that each time the sails are raised, Vangelis’ 1492: Conquest of Paradise is played. There’s just something very emotional and beautiful yet difficult to express, but something to experience over and over.
For those who love travel, small ships, adventure, and getting into interesting anchorages and harbors, this type of trip will be unforgettable.
The Cheesemonger
Deana Simmons, The Cheese Shop of Centerbrook
https://www.lifeinnorway.net/the-norwegian-phenomenon-of-brown-cheese/ Norwegian brown cheese comes in various shades of brown, which reflect the strength of flavour.
Gjetost – The Norwegian Brown Cheese
By Deana Simmons – The Cheese Shop of Centerbrook
Days have begun to carry a quiet magic, filled with crisp, cool air and a golden warmth as sun filters through trees with leaves of amber, red and gold. This is how we know Autumn has found its way into town. I particularly enjoy this time of year with shorter days and cooler nights. The smell of wood smoke, the rustling of fallen leaves under your feet, cozy fires and harvest celebrations.
I don’t know about you, but this time of year finds me wanting to spend more time with friends and family sharing a bottle of wine or two while we thread bread on the ends of sticks and scoop up melted cheese. I’m talking about fondue of course. Classic Fondue. Gruyere, Emmenthaler, white wine, etc., you know the recipe. This got me thinking, what else would make a great fondue? Something different, something you wouldn’t suspect, something outrageous.
Scouring my cookbooks it had become very clear; anything goes when it comes to fondue. I found recipes for Cheddar fondue, Gouda fondue and Gorgonzola fondue… all sounding delicious but not what I was looking for. Then I found this recipe for fondue made with Gjetost cheese and I knew it was the one. I made it immediately, and we were blown away… it’s so good.
If you’re not familiar with Gjetost (pronounced “YAY-toast”), it’s a unique “brown” cheese from Norway. When encountered for the first time you may not even think it’s cheese. That’s because Gjetost has a caramel-like flavor and fudge like texture.
The name Gjetost comes from the Norwegian word Gjet for goat and the word Ost for cheese. Like most cheeses, Gjetost was made from necessity, but instead of relying on the curds, Gjetost is made with the whey, the liquid byproduct of cheese production. The whey is simmered for several hours, allowing the water to evaporate. As the whey reduces, the lactose (milk sugars) caramelizes, giving the cheese it’s characteristic brown color and sweet taste. Traditionally Gjetost is made with the whey of goat’s milk, which gives the cheese it’s sharper, more robust flavor. Gudbrandsdalsost, the most common variety, is made with a blend of cow’s milk, cream and goat’s milk giving the cheese a milder, sweeter taste.
For Norwegians or those familiar with Scandinavian food traditions, Gjetost is associated with comfort food. It’s mostly served for breakfast on crisp (Knäckebröd) or grain breads with butter and fresh fruit. It’s also used to brighten up a charcuterie board or mixed into sauces and savory dishes to add depth and flavor.
I for one was surprised by all its uses and will be exploring more in the days to come, but for now I can’t wait to share this recipe with my friends and family. It’s a great appetizer for a fall harvest party. It also makes a great dessert and it’s good all on its own – Pair it with Belgian Ale or Sparkling wine!
• 1 1/2 tablespoons sugar
• 4 teaspoons brown sugar
• 1/4 teaspoon cinnamon
• 4 ounces gjetost, preferably Ski Queen, in thin slices
• 2 tablespoons heavy cream, plus more to thin
• 1/2 teaspoon Cognac plus 1/2 teaspoon water (or 1/2 teaspoon vanilla extract plus 3/8 teaspoon water)
• 20 pecans, toasted
Directions
1. Combine sugars and cinnamon in a small bowl and stir well.
2. Combine cream, Cognac, gjetost and sugar/cinnamon mixture in a pan over low heat, stirring as the cheese melts, thinning with additional cream.
3. When cheese has completely melted, transfer to fondue pot, set over low heat, and top with toasted pecan pieces.
4. Serve with gingerbread chunks, apple wedges, bananas or bread for dipping.
This recipe makes a very small amount. Serves 2
Vel Bekomme (aka Bon Appétit)
September 9 - November 29
Reception • Wednesday, September 18 • 5 - 6:30 p.m.
“Visions Unveiled” promises to be a captivating exploration of creativity and expression, showcasing the diverse talents of three women artists: Michele Fox, Debra Lee and T. Willie Raney. For more information, visit MiddlesexHealth.org/Visions
Debra Lee, MyRedBoots,oil (detail)
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