Ink Magazine - January 2020

publicationsÂŽ

www.inkct.com

Vol 15 Issue 169 2020

A guide to finer living in Connecticut & abroad.

January 2020

Our 15-minute, low radiation test catches twice as many early lung cancers – while they’re still treatable. It’s one reason why Kirk Davis gets to spend time with the apple of his eye.

MiddlesexHealth.org/lung

January 2020 Vol. 15 Issue 169

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Feature Stories

Departments

Say “Cheese” …about 300 Times!

The Cheese Shop of Centerbrook

The Magic of Metallaria:

Grayson Metal, bringing ores of the earth to life.

visit inkct.com

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Crusty Old Diver - History in a Bottle

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Cardinal Points - Gyrfalcon at Churchill Point

Music Mirth and Mojo - This Duke is a Nobleman Indeed 42

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America’s Sistine Chapel:

The St. Ann Cultural Center in Woonsocket, Rhode Island

The Cheesemonger - Gruyere

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On the Vine - Central Coast California

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Life on Sugar - Savory Sweets

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January Events - What’s Goin’ On?

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HAPPY NEW YEAR! Well, they say the only constant in life is change, and

I would tend to agree with that. As we embark on another year here at INK (our 15th), we find ourselves thankful to all the wonderful people and places that have graced our pages over the years. This year marks a special time for us. Soon the INK magazine you are holding in your hand will be referred

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I’m Sorry...

How to Practice Forgiveness

to as the "old INK." We are changing and growing, and with this, so too is our magazines' format. For some, change is scary, but in our case, the change will be a beautiful thing. See you in February!

J. Lilly founder / publisher

Contributors

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The Brazen Youth:

Capturing the evasive poignancy of evanescence

Rona Mann - editorial Carolina Marquez-Sterling - design Melissa Nardiello - design Barbara Malinsky - editorial Paul Partica - The Cheesemonger Vincent Scarano - editorial Kate Tolmie - photography John Tolmie - Crusty Old Diver Joe Urso - design

Angela Carontino - admin/traffic Susan Cornell - editorial Anita Darin - design Charmagne Eckert - editorial Barry Ford - design Alison Kaufman - Music Mirth & Mojo Heather Kelly - Life on Sugar Mark Seth Lender - Cardinal Points Art LiPuma - On the Vine

Advertising

Contact us to receive our media kit with detailed advertising information.

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Bing Bingham

Many Layers of Art

Bob Houde - Advertising Director bob@inkct.com 860.303.6690

Jacki Hornish - Litchfield jacki@inkct - 860.488.0393

Cheryl Powell - Greater Connecticut cheryl@ink-pub.com - 860.608.5749

Richard Malinsky - Shoreline richard@inkct.com - 215.704.9273

Rona Mann -Greater Connecticut six07co@att.net - 401-539-7762

Submit Events Listings to:

Angela Carontino - events@inkct.com

On the Cover: “Winner” by Bing Bingham All content of INK Publications including but not limited to text, photos, graphics and layout are copyrighted by Inkct LLC Reproductions without the permission of the publisher is prohibited. Inkct LLC is not responsible for images or graphics submitted by advertisers which are not copyrighted or released for use in this publication.

Inkct LLC - 71 Maple Avenue, Old Saybrook, CT 06475 - email: submissions@ink-pub.com - visit www.inkct.com

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A LITTLE SOMETHING FOR EVERYONE

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From sporty designs and chic lines to cutting-edge connectivity and safety features, Toyota car models help you blaze your own trail. Ranging from the tiny Yaris hatchback to the hulking Land Cruiser SUV. The Camry is one of the best mid-size sedans you can buy, while the Tacoma has a well-earned reputation for being a sturdy pickup that isn’t afraid to get dirty. The Corolla is a great choice for those seeking economical transportation, but when it comes to fuel economy the Prius hybrid is king.

CHARLES

TOYOTA

500 W. Thames St., Norwich, CT 06360

860-889-8375 CHARLESTOYOTA.COM

Making Great Deals Better!

From Our Garage to Yours

ANTONINO AUTO

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SHOP • DINE • EVENTS • THEA T T TER

shop small. a shop local.

Hours: 10:00 a.m. - 6:00 p.m.

27 Coogan Blv l d. • Mystic, CT • 86 60-536-4941 www.oldemistickvillage.ccom

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Say “Cheese”…about 300 Times!

Destination: The Cheese Shop of Centerbrook

by Rona Mann / Photos by Jeffery Lilly

S

ometimes you have absolutely no idea where life is going to take you. Sometimes you just take it as it comes, other times it takes you.

In 1967, then high school student, Paul Partica, was just looking for a part time job when he found a position at a cheese shop in Greenwich. From the very first, Partica was hungry, and it wasn’t just for samples of the wares the shop sold; he was hungry for knowledge.

He decided early on, therefore, to learn all he could about cheese: the different varieties, the production of cheese, the best way to keep it, display it, cut it, eat it, and keep it, so he looked and listened, asked questions, and thoroughly immersed himself in this new world...and along the way, he learned.

Ask Partica now, 52 years later, and he’ll unabashedly tell you, “I’m still learning.”

Hard to believe, since when you meet the man, speak with him, and see his eyes fairly dance as he ferries the visitor around his “European style cheese shop,” he seems to know absolutely everything about cheese, from which animal’s milk has been utilized in the production, to the country from which it came, to its rind, speed of ripening, shelf life, consistency, and more.

Yes, meet Paul Partica, and you’ll quickly realize that to him cheese is equally a science and an art, both of which he readily embraces. His years of research, exploration, and experimentation have given him the scientific background on how each cheese is produced, and he imparts this knowledge not only when he teaches courses at shoreline adult ed, but each day in his shop with every customer he meets. The art of cheese is found in the presentation and in the eating...in the appreciation

and total enjoyment of same, and here too Partica shines, for he takes precious time with each customer to learn their tastes, to give them samples, to find out what they want and why they want it. If there’s an occasion or celebration, he can easily make suggestions, pairing the cheeses to wines, to specific tastes, and to the proclivities of the invited guests.

A visit to The Cheese Shop of Centerbrook is not just another stop on your shopping list that

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is treated in the same way. “I don’t want people who don’t know much about cheese to come in here and feel in any way confused or intimidated by the fact that we have one of the largest selections of cheese statewide, or that we may have eight or nine kinds of gouda available on any given day. I am here to explain, answer questions, offer them samples, and make suggestions.”

once completed, you cross off; it’s a destination, for it combines good times, good taste, and always a good experience.

From the moment you open the door and inhale the seductive bouquet of delightful and curious aromas that serve to further beckon you into the shop, you will notice a sign suggesting your recommended traffic pattern. Paul has taken great pains to purposefully stage the display of his wares, following the hallmark of the great cheese shops of Europe.

Here nothing is pre-sliced nor pre-wrapped in plastic, put in a flat case for the shopper to observe, pick up, throw down, and move on.

The Cheese Shop of Centerbrook carefully displays their cheeses so that you may easily

see the great variety, all of which are sliced to order only when the customer is ready to purchase it. Ah, but first, the tasting! Partica wholeheartedly believes that customers should always sample before they buy, even if they feel they “know” the cheese from prior experience. “Cheese is unique, so are customers. A particular cheese can taste one way one week, and the next, it may seem different to you, so we want people to know what they’re buying and to be thoroughly pleased with it before they take it home.” Paul pauses a minute, then adds proudly, “in our almost 10 years in business here, no one has ever returned a cheese to us.

Not once. Ever.”

Whether the customer is a frequent shopper or a first-time visitor, each

The first lesson begins with the sign accompanying each cheese. It sports the flag of the country from which the cheese has come and then has tiny icons of animals...cow, goat, sheep representing the type of milk used in the production of the cheese itself.

In addition to cheese from virtually every country worldwide, The Cheese Shop of Centerbrook has a full line of meats, assorted pates, olives, fondue and raclette cookers, espressos, lattes, scones, baguettes, croissants, nuts, and gift boxes and baskets that are shipped nationwide. But always a cardinal rule remains: cheese is never pre-cut into

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cubes, nor will there be anything that will in any way compromise the integrity of the product.

While there is no formal collegiate degree in “cheese,” there is much to be gleaned from hard work, hands-on, old fashioned experience; and if that’s an education, then Paul Partica, who has a degree in marketing, also holds a PhD in cheese, making him invaluable to customers. That part time job way back in 1967 eventually led to him setting up, opening, and training at many of The Cheese Shop’s 140 franchise stores all over the United States. “I bought product for all the stores and even opened 40 of them on my own,” Partica says.

He also worked in the specialty foods field in small shops, major supermarkets, and

even trained baristas in the art of brewing coffee. “Always my field was in specialty foods,” Paul says.

One would never guess when meeting the self-assured Partica, so comfortable is he in his own skin, that, “One of the scariest things I’ve ever done was opening my own store.” Nearly 10 years ago he took the plunge, opening The Cheese Shop of Centerbrook, importing his many years of knowledge and experience into what has become a wildly successful enterprise. “I used the same floor plan here as we did in the shops 30 or 40 years ago, because, quite simply, it works.”

It didn’t take long for people to find the European style cheese shop with the highest quality products statewide. Initially, Partica’s customers came from around the corner, now they come from all over the state and throughout New England. “Nobody does it the way we do,” Partica says proudly. “More than half our business now is repeat business from out of town.”

The affable cheesemonger sits back in his chair and looks around the shop he created, built on a foundation of experience, the best products he could find worldwide, and with the support of a loyal and adoring customer base. He says once again to no one in particular, “I really don’t consider myself an expert.

I’m still learning.”

Then he smiles.

Learn from the best! Sample the best! Serve the best! Visit The Cheese Shop of Centerbrook,33 Main Street. (860) 767-8500 www.cheeseshopcenterbrook.com Your “destination” for cheese...and more! *** Don’t miss Paul’s column, “The Cheesemonger” each month in INK!

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The Magic of Metallaria: Grayson Metal, bringing ores of the earth to life.

By Charmagne Eckert Metallaria – blacksmithing, metallurgy – is one of the Artes Mechanicae, a medieval cataloguing of the “practical arts,” practices that might be considered to be not only necessary, but enriching to human existence.

Metal. It surrounds us; it protect s us, adorns us – it is even used to repair and heal our bodies. Rarely do we stop to observe, to identify the immense variety and application of metals that enhance and support our daily lives.

Look around the room where you now find yourself. In a kitchen alone, we find metal used for fixtures, appliances, hardware, utensils, the pipes that carry our water. The rings on our fingers, the casing, and interior components of the laptop upon which we write our contemplations. Of the 118 elements list-

ed on the periodic table, there are only 7 considered to be nonmetal (though that number goes up to around 20 if halogens and noble gasses are included). As there are overlaps within the categories, there can be some variation in the precise classifications. Still, essentially, metals form the vast majority of our physical world.

These elements, beginning as raw ore, are extracted from the earth then subjected to processes that make them suited for manipulation by human hands. For a craftsperson skilled in the art of metalwork, such as master metal fabricator Grayson Reinwald of Grayson Metal, in Deep River, Connecticut, there is a natural and evident connection between the gifts of our earth and the finished creation forged from metal. Metal is practical, beautiful, and it

can be formed and deployed in ways, unlike any other material.

Grayson’s approach to his craft reflects the strong, grounded energy one would expect of an artisan whose medium originates from deep within the earth. He is nothing if not

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practical, and his knowledge of engineering is ever-present as he considers the efficacy of a design – whether his own or a client’s. He is also knowledgeable about the construction codes and requirements that must be met to ensure compliance and safety. Part of his joy in working with metal is its tremendous versatility. Still, even metal has its limitations, and part of what he brings to his custom creations is the knowledge of what can and cannot be achieved. He honors not only its malleability but its innate permanence of the medium when it is crafted with integrity. By understanding the natural restraints, he can help his clients come up with the aesthetics that they desire in a form that will be serviceable as well. “Something really well made from metal will last. I like knowing that my work has a permanence to it – that it will function really well and be around for a long time.”

Durability and longevity resonate with Grayson. A native of Higganum, Connecticut, Grayson grew up with the varied climate of the region, and he carries a real understanding of the New England environment. He is sensitive not only to the way the weather will impact structures but also to what sort of colors, forms, and textures might be teased from the metal to enhance a home best or other edifices within the natural terrain – whether in Connecticut or elsewhere.

He is inspired by the intersection of metal with native materials. Granite with its shimmering quartz and mica, buttery steatite (best known as soapstone), brownstone, and of course wood, brought to a honed finish or in the natural state of a living tree.

The value of custom metalwork is evident in the substance and resilience of the products created by Grayson. He incorporates techniques ranging from forging to welding to riveting, depending on the demands of the item being crafted. Most often, clients are seeking some type of railing – from simple, sturdy balcony balustrades to elaborate custom stair rails with a motif, perhaps of trees, the natural hues of bronze, copper, and steel adding color and depth to the design. But Grayson also creates unique furniture designs where form and function merge,

as well as orn a me nta l sc ulptura l pie c e s wh os e pur pose is mo re a e sthe tic tha n serviceable. Th e c ho ic e o f m a te ria ls is determined by the application, whether the installation is interior or exterior, and the visual effect desired. A sleek gateway to accent minimalist architecture along the river might lend itself to stainless steel. In contrast, the soft patina of bronze would be suited to a scrolled arbor in a traditional New England garden.

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word for gold, and the seat of creation of the cosmos, is referred to as hirnyagarbha, the “golden womb or egg.”

Though reluctant to lend any esoteric attributes to his practice, Grayson carries with him the history of metalworking and the skills that bear the mark of generations of craftspeople from diverse cultures throughout the world. It is an ancient trade, framed in colorful myth in many regions, yet always firmly grounded in the affairs of humankind.

There is archeological evidence that copper was mined and worked as far back as 8,700 BCE in northern Iraq. In South Asia, where mines for copper, tin, and lead existed as early as 7000 to 3300 BCE at the Neolithic and Chalcolithic site of Mehrgarh (located in modern Pakistan), sophisticated forging and metalwork were already taking place.

Other parts of Asia, Europe, the Americas, and Africa were also developing processes to extract and manipulate metals into useful and ornamental objects. Interestingly,

Iron, Tin, Lead, Copper, Mercury, Silver, and Gold, all of which were utilized by ancient civilizations, are still common materials in our modern culture.

Beyond practical application as tools, weapons, currency, and adornment, the history of cultures throughout the world is permeated by the influence of metal, as something with mystical even religious q u a l i t i e s , a n d a s i n s p i ra t i o n f o r t h e i m a g e ry found in poetry and the arts.

Stories of ambitious medieval alchemists working feverishly to turn lead into gold in their quest for the elixir of eternal life are well known. The Vedas of ancient India, extensive religious works in Sanskrit, considered to be apauruseya, “not of a man, superhuman, impersonal, authorless,” contain some of the earliest references to gold and other metals. The Rig Veda, oldest of the four Vedas, refers to hiranya, the oldest Sanskrit

In a process as inherently alchemical as the crafting of metal, it seems impossible to entirely remove the wondrous. Grayson lays no claims to anything beyond excellent, reliable craf t sm an sh ip, and for those seeking enduring quality, unique design, and outstanding artistry, investment in custom metalwork is a sound choice. But pragmatism aside, there is no doubt that, although unintentional, the pieces created by Grayson Reinwald reflect not only his personal integrity but also lovely, practical magic.

Grayson Metal 9 Cedar Swamp Road Deep River, CT 06417 http://www.graysonmetal.com Phone: (860) 395-7707 Email: graysonmetal@gmail.com Sources: www.en.wikipedia.org, www.thoughtcompany.com, www.vedicheritage.gov.in

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History in a bottle

By John Tolmie with Photos Kate Tolmie January is a rough time of year for divers in Connecticut. Spearfishing along the shoreline dies down as the pelagic fish head south, and most of our indigenous fish go into hibernation until the spring.Yet Mother Ocean still calls and beckons with new mysteries to unfold beneath her waves. As cold and unwelcoming as the

Atlantic in the winter may seem; It’s not so bad in a nice thick wetsuit. The extra neoprene ensures my core will stay warm for at least an hour. There are also a few additional positives to diving during the wintertime. There are no boats to run you over, you can launch from public beaches, and the ocean is the clearest it will be all year along the shoreline, which is ideal for antique bottle hunting!

Collectors can find antique bottles in many different locations along our rocky coast.

I’ve found lots of trinkets above the tide-line, but I find it most rewarding while

searching under the waves. As well, the chances of finding a whole bottle are better when hunting underwater. Places from the turn of the century like harbors, seaports, jetties, bridges, piers, and beaches hold a rich history of antique glass. I salvaged my first bottle in 1992 while lobster diving along the outer jetties in Narragansett. It was a beautiful sky-blue bottle with an embossed American flag on it. It was made by a local soda business in Westerly,

23 RI, called J. H. Blackler. I brought it home, and after cleaning off the barnacles to reveal its markings, I did some research. Apparently, the bottler was in business from 1888 until 1926.

So someone had tossed it into the sea between 66 and 104 years prior. After a little digging through the web and I found that Mr. Blackler only bottled sarsaparilla and ginger ale. I wondered about our old neighbor, who had tossed this beauty overboard. What did he or she choose to quench their thirst that day? Was it Westerly’s finest sarsaparilla or ginger ale contained in the heavy glass jug? The aesthetic of the glass, the smoothing of years under the sea, and the mystery behind its journey grew into a somewhat manageable addiction of bottle hunting that has kept me enthralled for over 25 years.

The products advertised and contained in these glassy time capsules are odd by today’s standards. With products like,“Cabot’s SylphoNathol” and “Hagee’s Cordial Cod-Liver Oil Compound,” it makes me wonder what these concoctions cured during their time of use.

Whether they floated here or were dropped precisely where they were salvaged, they hail from all regions of the North East and beyond.

They’ve traveled from small towns in New Jersey like Perth Amboy and from big bustling

cities like Boston and Providence. Some came from as close as New London, Connecticut, and as far away as St. Louis and Milwaukee. I even found a pre-prohibition Pabst beer bottle well before the iconic Blue Ribbon was added to the brand.

Where to start looking for bottles? Well, our states rocky public shoreline access points that have been open since the turn of the century are the best starting point. Fishermen love to drink while wetting their lines. Over the years, these spots became dumping grounds before today’s environmental culture. Chances are if the fishing is good today; it was good a hundred years ago. Jetties and breakwaters that were constructed along Connecticut’s shoreline have always been a great place to fish and seem to hold a trove of whole bottles. Not all bottles that have been thrown in the water sink right away.

Often the bottles would float along and then nudge themselves into rocky crevasses. Over time the bottle will get wedged in by the action of the waves and then slowly cover in sea-growth. The growth will protect the bottle from wear, and over time will preserve it from the elements. Grab your mask, fins, and snorkel and swim along the jetties. You may need a wetsuit if you like diving in the colder months, and you will definitely need a dive flag if you are snorkeling away from a swimming area. While swimming along, poke in and around the rocks and look in the sea-growth for

the telltale circular patterns of a bottle mouth or base.

Often times you will pull out a newer bottle for the recycling bin, but every once in a while, you will pry out a piece of local history from beneath the waves. If you find one… you’ll be back for more! Cleaning the growth off the bottle can be difficult without damaging the embossments. I soak some of my bottles in detergent overnight and gently scrub the following day. Others I leave with the growth attached for that crusty old bottle look. Either way, it’s a treat to own a piece of local history to display in your home!

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BE O OR RIGINAL Original Art | Origina al Gifts | Original Lifestyle

Everything here is made by LOCAL artists and artisanss.

Original g Fine A Silks & Weaving

cal Potteryy Woodworking

Soaps/Candles

Journals/Cardss

Tables/Benches

Earrings/Jewe elry

Needle Felting

Artistic Frame es

Custom Mirrors

Turned Bowls

Cuting Boards

Forged Iron

Recycled Silver Necklace N

by Kristen Mara

22 Darling Road, Salem 860.608.6526 Closed: Dec 26-Jan 8 Winter Hours: Thurs-Sun Noon-5pm thru Marrch

GALLER Y • GIFT S • CLA SSE S Visit online at salemredhouse.com to view or register for upcoming classes s

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A rica’’s Sistine Chapel: Amer

T St. Ann Cultural Center in Woonsocket, The Woonsocket, Rhode Island by y Barbara Malinsky

La Chapelle P L Petit etitte Sistine dee W Woonsocket, oonsocket, Rhodee Island, d the little Sistine Chapel,l is writtten in Frreench becau wr use se Saint Ann Roman Roman Catholic Catholic Churrch ch was designed and built by y Frrench-Ca ench-Canadian immigrrants ants and adorrne ned by the Frrench-C ench-Canadian arrtist tist Guido Gu N Nincher ri who paintted ed the entirree church church in the mannerr of the Sistine Chapel.

Chap In the early part of the 20th century, y, the textiles miills powered by Rhode Island’s Blackstone Rivverr, needed workers. French immigrants from Caanada were wooed away from their farms wh hich produced irregular income. A regular paaycheck fr from a mill job was more desirable thaan the vulnerability of a farmer’s crop. So, they came eventually becoming a population of fifty tho ousand.

Ass Catholics, between 1913 and 1917 they built a cchurch first. It had a wooden altarr,, no stained glaass, and bare grey walls but, as the community prospered, it became more and more adorned evventually becoming a historic landmark. More thaan a church it had several buildings for use by by thee community including a vaude vaud deville theater thaat included dramas and opera performances, a libr l arryy, bowling alley, y, and other facilities. f There weere seven masses a daayy and social social life rrevolved aro ound the church.

Litttle b byy little people contrib contributed buted to its em mbellishment giving pennies, nick kels, and dimes

which eventually allowed for the purchase of stained-glass windows. These were designed in 1920 by the prestigious House of Lorin in Chartres, France that specializes in the production and restoration of stained-glass windows and is still active today. y. St. Ann Church now boasted 550 square feet of brilliant stained glass. The windows are still dazzling, streaming light into this house of worship. It is incredible that they were designed and built in France, shipped to Rhode Island, and assembled with nary a crack or misalignment.

By 1940, the bare walls were addressed by by hiring Guido Nincheri, an Italian born and trained artist, who was one of the very few artists who could work in the extremely difficult medium of fresco. Ninch heri was a native of Prato, a Tuscan Tusccan city renowned d for its textiles. He studied paintin ng, drawing, and architecture a at the Academ myy of Fine ine Arts in Floren nce. It was there that the masster Adolfo de Carolis taught him the technique of fresco painting g. As an Italian, he was undoubted dly influenced by the t Sistine Chapel made famous by Michelangelo and Raphael. In man nyy ways, ways, the t

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The art of fresco painting is an arduous one. The painter actually paints on wet plaster adhered to the wall surface. He must paint quickly before the plaster dries because once set it is permanent.

French Romanesque style and large apse were similar in design to that of the Sistine Chapel and lent themselves to epically scaled works. Also, as in the Sistine Chapel, many figures from the Old Testament are depicted which is unusual for twentieth century churches.

The art of fresco painting is an arduous one. The painter actually paints on wet plaster adhered to the wall surface. He must paint quickly before the plaster dries because once set it is permanent.

The first step is a line drawing of the image to be painted which is called a cartoon. This resembles a children’s coloring book with lines to be colored inside. A section of the image is placed upon a portion of wet plaster and pierced with a stylus after which charcoal is pounced into the holes permeating the paper thereby giving the artist an outline to paint the image using water-based paints.

Nincheri’s use of pastel color is also distinctive.

Adding to the unfolding process was Nincheri’s use of Woonsocket parishioners to pose for the

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faces of the various scenes and saints. The image of Saint Marryy is Millie M Savoie Tellier Tellier. Margarite Forget’s face is recog gnizable throughout the chapel.

A total of 475 faces from f the community appear in the frescoes. Local descendants d can identify their ancestors imprinted on the walls.

Once the frescoes w were completed, Nincheri was commissioned to em mbellish it through decoration. decoration He designed the m marble altar with its intricate back screen carved as a delicately as lace. Next was the altar rail with tw welve large panels representing the signs of the zodiiac. The pulpit too was part of this next stage of décor. d All were imported from

Italy in Carrara marble, the verry same material that Michelangelo used to createed his masterpieces.

When completed, the church was a marvel and is now called “America’ “America’s Sistine Chapel”. .

Guido Nincheri came to Montr ntreal, Canada from Italy in 1914. He arrived therre during a building surge leaaving ving his imprint over o r 200 churches in the United States and Canada. Heir H to the secrets of traditions which date back hundr undreds of years, he designed stained-glass window ws, introduced fresco to America, and designed in marble. Pope Pope Pius XI dubbed Nincheri “the church h’s greatest artist of religious themes.” He was kn nighted by the Italian

government ment in 1972 and years later was honored h for th his contribution ribution during Montreal’s 350 anniversarryy celebratiions. One of his circa 1940 stained ained glass window ws, “Our Lady of the Rosary”” from Holy Rosarry Cathedral Cathedr C in Vancouver Vancouverr, was feaatured on a Canadiaan Christmas postage stamp in n 1997. For his work k at the Roger Williams Williams P Park ark Museum M in Providen nce, Rhode Island, donated without out char charge, the cityy named him an honorarryy citiz citizen. zen Roger zen.

Williamss w was the founder of Providence.

For furtherr information go to stannartsctr@aol.com.

The alll-volunteer St. Ann Arts A and Cultural Centter is a non-reeligiously affiliated, af non-profit corpo oration dedicated d to the preservat e tion and reestoration of the he former St. Ann Roman n Catholic Churcch building ng located at 84 Cumberland Street. e The Center’s mission is to t develop multiple venues es of adaptive reeuse for this is endangeered e and irreeplaceable artiistic historical asset, thereby e securing its preservati e ion while creeating a unique ue resour e ce for the surrounding comm ce munities.

When th he Diocese sold St. Ann Ro oman Catholic Churcch in 2000, former parishionerss worked with art lovers to save thee building that had been a second home to so many p poor Freench-Canadian im mmigrants and mill workers rs since the early 1900s. After its cllosuree, volunteers began tto lease the building from the Diocese. In 2007, after er six yearrs of leasing, the Diocese of Providence turned ow wnership of the building o over to the nonprofit grou up for its p permanent use as an arts and a cultural center. From m its inception, it has been n a valuable resour e cce to the he surrounding communities. Today o y it continues to expand its programming and offerings f to the public while le strivingg to preeserve and maintaiin this impreessive and exq quisite national historic landmark. l The Center also so raises m money for local non non-pr profitt orgganizations such as th he National Cancer Society ty,, St. Jude Jude’ss, and others. It has beco ome a popular venue for weddings w and other activiities.

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This is i a day trip ip in waiting ng. Bon Voy oyage!

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A Century of Creativity: Connecticut Art from the New Haven Paint & Clay Club

Virginia M. Burgess, Morning on the Avenue, 1996, oil on canvas.

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January 31 THROUGH May 10, 2020

Lyman Allyn ART MUSEUM

625 Williams Street New London, CT 06320 www.lymanallyn.org

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34 And lifts.

many. They tell a story:

And like a white-winged ghost, gone! Into the fierceness‌

Gyrfalcon was hit from behind. Low. There above his tail, the blow that drove him down.

And he rolled. And laid on his back. The defensive tears on the skin of his feet tell you that, and the blood on his breast and belly also. And on his face. Meaning, the Peregrine went for his eyes...

Moments later he fights his way back, to the same roost. And the blizzard stops just the way it started in a poor excuse for clearing: Thirty knots. Ten below. A weather Gyrfalcon does not bend to. As if it were nothing.

Nothing at all. Knowing, there will be worse to contend with.

Gyrfalcon at Churchill Point

Gyrfalcon ruffles and arranges and tucks his plumage in the miserly light.

And straightens.

Š 2019 Mark Seth Lender All Rights Reserved

And looks the other way.

And out of wind blows Gyrfalcon!

He perches, closes his wings and holds, the grains swirling, his feathers curling, hunkered, his head tucked into his shoulders with only himself for shelter.

Peregrine cannot be blamed for who and what he is. But this was not the work of Nature.

Cocks his head and leans, far to the side.

Hudson Bay, Manitoba

The Arctic Wind comes blade flat, fleshing the thin and the fat from the bone of the land.

Freezing, the breathe in your mouth, the tears in your eyes, your lips turned to match the nocolor perceived in every direction.

Peregrine. The only one it could be. Smaller, lighter by half but fast, and his talons honed, and his eye unswerving.

And all the way round behind him.

Searching. For what? For something to kill?

What for? There is blood on his feathers.

Fresh blood. He ate. He feasted. He should spend his time cleaning himself. But does not do so except for his feet brought up with easy balance to his beak. Then only stands there.

Recognition dawns slowly. He is not blooded.

The blood is his own.

Puncture marks laid down in groups. In threes.

In twos. And the deep wounds on his back. So

The Southard has been dragged against its will towards North; the Weather of the North crushed into a narrowing band, tight against itself.

No peregrine should be here. Not at the time of year when Gyrfalcon comes down.

No! We did this.

This is our result.

Gyrfalcon will survive the night. But not the winter.

Field Note:

from solid ground with a long tow chain to pull everyone out.

The gyrfalcon is something of a holy grail. Creatures of Then we ran out of gas (bad gas gage). a cold white land they seldom range outside the Arctic.

To see Gyrfalcon you must go to him.

Then the bear buggy we transferred to had engine trouble. So we sat and waited for the parts to be On this particular day we had one of those rough starts that sometimes plague fieldwork in remote places. Our bear buggy had been trapped in the ice for two hours. A shallow melt pond, with a skin that should have been hard enough to handle our weight, had failed us. On inspection the ice was dark with bottom mud. The permafrost beneath had melted in the unnaturally warm summer and so the ice was not clean.

Impurities in ice lower the freezing point (like salt on an icy walkway or ethylene glycol in your radiator). Consequently the ice though not thin was still weak despite that it was well below zero centigrade. The bear buggy that came to rescue us also went through. And the next. It took a forth machine, working

helicoptered out from the town of Churchill.

Then the polar bears came to investigate (which was a treat).

Then Gyrfalcon landed right beside us.

In the Arctic there is no such thing as bad luck when it comes to good stories.

There have been reports only in the last few of years of peregrines in serious conflict with gyrfalcons for nesting sites in Greenland. Apparently that unwanted interaction is taking place in Hudson Bay (of which this may be the first remarked incident). Warming both north and south of the Arctic Circle calls into question whether the gyrfalcon, Great White Ghost of the Arctic will become a ghost in fact.

Mark Seth Lender’s fieldwork and travel are arranged exclusively through Destination: Wildlife TM. If you would like to visit the places Mark has been, you can contact them at www.DestinationWildlfe.com.

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Art & Forgiveness Profile by Susan Cornell / Photos by Vinnie Scarano

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Have you ever wanted to forgive someone, but found too many challenges?

What if there was a forgiveness coach?

B

arbara Shulman-Kirwin is certified as a Radical Forgiveness Practitioner with a private practice in Guilford and uses Radical Forgiveness to help clients (and herself) accept and deal with difficulties by looking through an empowerment lens rather than victimhood. She is a multifaceted woman who has transformed herself many different times, from physical therapist to potter to glass fusion artist and abstract painter. She is now a gallery owner and a whole health practitioner specializing in the power of forgiveness.

After a 15-year career as a Ph ysical Therapist, Barbara decided to satisfy her artistic spirit through pottery. She began experiencing increasing immune system issues and joint pain, which prevented her from working in pottery. She learned she had Chronic Lyme Disease, and that it had gone undiagnosed and untreated for 16 years. After 18 months of multiple antibiotics, bee venom therapy, and allopathic, homeopathic, and naturopathic remedies, nothing relieved her symptoms.

“I realized I had to heal my mind in addition to my body,”Barbara said and added,“I hadn’t understood the incredibly huge connection between our mind and our body. Unless our mind heals, it is improbable our body will heal completely.”

Without pottery to fulfill her creative side, Barbara discovered the magic of glass. She began designing architectural glass and dichroic glass jewelry – which she creates at BSK Design.

Because Western medicine couldn’t help Barbara with her symptoms, she started turning over rocks she never turned over before.“I began to understand life through a different lens. I was trained as a physical therapist–very much body, very concrete. I always treated the whole person, but I didn’t truly understand the psychological and spiritual implications of disease and wellness the way I do now.”

“Lyme disease has not been easy for me, but it has been purposeful for me because it’s made me understand the whole body in a way I never did,” Barbara said.

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his spiritual journey began a long time ago. She explained, “My father was an agnostic Jew, and my mother was a Protestant from Germany, a little bit anti-Semitic. We were brought up with no religion whatsoever. When I went off to college, I was pre-med in the beginning and realized that wasn’t anything I wanted to do. I became a Philosophy and Religion major, questioning the big questions in life – what is life, what is happiness, what is everything?”

While she’s been on this quest for a long time, her real spiritual journey began with the undiagnosed Lyme disease. “I see that my struggle is purposeful,” she said. Barbara is sure she will heal completely.

Forgiveness is one of the things she tapped into in her query of selfdiscovery. “I was brought up with a righteous theory that one does not forgive; I did not grow up with forgiveness at all. I did not know what it meant to forgive. My father told me that if you’ve said you’re sorry, then you’ve lost the argument, and if you’ve lost the argument, you’re a loser in life. So you don’t. You just barrel through.“ So for Barbara now to be a Forgiveness Practitioner is beyond ironic!

Forgiveness, to Barbara, is an attitude and a way of life. “It’s a perspective we have on life in which life obstacles happen to us they will always happen to us. Life is not always easy. Life is wonderful, but it is not always easy, so life obstacles such as disease, divorce, difficulty with children, whatever comes your way will always come your way, but we can look at it through a different lens.”

The main message she tries to convey is that life happens for you, not to you.

L ife happens for you, not to you She explains: “Most of us are taught that life happens to me, not for me, so Lyme disease was happening TO me, a difficult relationship was happening TO me. If you are in a difficult work relationship with a boss, that’s happening to you, and you are a victim to it. When you’re a victim to things, you’re disempowered because if you’re relying on the boss or the child or the partner to behave in a certain way so you can be happy, you’ve given up your empowerment to that other person or that disease.”

“If you can take that one psychological step in understanding and accepting that if in fact, life is happening for me, what is this obstacle in my life happening for me for? What is the purpose, what is the gift, what is the opportunity to heal my mind and body in a way that I didn’t understand before?”

Barbara Shulman-Kirwin / Photos by Vinnie Scarano

If you take that power back and say this is happening FOR me, then you can empower yourself to “use this difficulty to make me understand myself, my mind, and my reality from a different perspective and help me to grow.”

If you realize that everything is purposeful and it’s happening for me, there is no role for victimhood.

For years, Barbara was a victim of Lyme disease. “That, for some reason, gave me comfort, but it didn’t help me in any way. It kept me stuck. I think it’s crucial to have a gentle inquiry inside your mind asking what is the purpose, what is the lesson, what is the gift, what could this be happening for me for – spiritually, emotionally, physically, maybe, on a life course.

Why is this thing happening? Maybe I’m not supposed to be going in this direction anymore. Maybe the job that I lost is because there’s something much better for me.”

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he points out that when people used to say ailments are all in your head and are psychosomatic, it was an insult. “I now believe all disease has a psychosomatic aspect to it – which means it’s all in your mind and your body.

Our minds and our bodies are connected, so what’s in our mind is often going to affect what’s in our body.”

In her case, toxic negative energies of anger and hatred were causing her body to feel pain and discomfort on top of the disease. “It was keeping me from healing myself completely – toxic emotions were the emotional overlay of my Lyme disease.”

Barbara also truly believes we are on a journey to discover new things about ourselves and be the best human beings we can. “...the most compassionate, loving human beings we can be and often through difficulty, through obstacles, we can learn new ways of doing things,” she says.

Barbara Shulman-Kirwin Anne Hockett / Photos by Vinnie Scarano

To become a Certified Forgiveness Practitioner, Barbara traveled to Atlanta to attend workshops with Colin Tipping, who was offering something called “Radical Forgiveness.”

This intrigued her because she knew she had to work on forgiving herself for her anger and hatred towards a person in her life.

“My 93-year-old therapist said, ‘Barbara if you could forgive yourself for having so much anger and hatred towards this person in your life, you’ll be able to heal yourself from your chronic Lyme disease.’”

That was six years ago. Barbara knew this was true but had no idea how to do it. After all, she was brought up in a family that didn’t practice forgiveness and so had no idea the gift, beauty, and strength that comes from a forgiving mind. She had to learn that.

Since that time, Barbara’s geographic journey has taken her to Bali and, most recently, Dubai.

In Bali, she stayed with a long-time close friend Anne Hockett and participated in a cleanse. Over the past 15 years, the two realized they were on the same page spiritually and on a journey to understand things differently. While Anne was on the other side of the world and Barbara was here in Connecticut, they found it astounding that they were studying the same things, reading the same books, discovering the same ah-ha moments, and it just brought the two closer together.

Anne has significant cardiac problems and found a way of healing herself through cleanses.

Barbara completely believes that all diseases are real and come from some physical force, such as a physical abnormality or virus. Still, she also believes there’s very often an emotional overlay, as well. She learned to deal with illness and dysfunction through physical therapy, which was wonderful but didn’t understand the emotional, spiritual, and psychological overlay of different diseases and dysfunctions, and that’s what both Barbara and Anne have learned through their travels and journeys.

Last November, the two traveled to Dubai to conduct workshops, see clients, and give talks on different aspects of forgiveness and fasting rituals.

“We like the idea of having a full mind-body detox with adding forgiveness to the detox workshop. If you’re allowing your mind to open up to forgiveness, you’re detoxing your mind from the toxic emotions that keep us ill. At the same time, you’re learning how to keep your body healthy and well by detoxing with a cleanse-fast.”

41 Barbara and Anne expect to do more workshops and talks internationally and in Guilford.

In January, Barbara moved both her private practice, Forgiveness Works, and her fused glass art, dichroic jewelry, architectural glass art, and abstract paintings business, BSK Design, to her new location, The Greene Art Gallery. This allows her to pursue both passions under the same roof and marry the creativity with the healing component.

“I wanted it to be a place of community where people can learn new ideas and open their minds to new thinking and new ways for healing and broadening our perspective in life,” Barbara said. She invites others to talk about different ways of healing and various aspects of creativity.

Forgiving, she says, is a gift for yourself. “If you can see that life happens for you instead of to you and everything is purposeful and there is a gift and lesson to everything…,” she says and adds, “We need suffering and obstacles to learn how to do things differently. If everything were on the joy spectrum, we wouldn’t learn these difficult lessons; these lessons are here for us to learn.”

But when does one go to a Forgiveness Practitioner?

“When they are tired of feeling bad, tired of feeling stuck.

Nothing in reality changes when I help people. I’m not changing out there; I’m changing in here.”

“I began my healing journey as a Physical Therapist, and I’m continuing my healing journey in a different way and with a different vehicle by understanding this psychological and spiritual overlay of our emotions.”

For more information on Barbara’s art-side, visit bskdesign.net. For more information on her forgiveness-side, visit forgiveness-works. com. Both are located at The Green Art Gallery, 29 Whitfield Street in Guilford. 203.314.3250

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This Duke is a Nobleman Indeed A profile by Ali Kaufman

I

caught up with Duke Robillard in between gigs. He had gotten home about 4AM and had another show to do later, but he made a cup of tea and graciously agreed to forgo sleep to speak with me. You don’t keep that kind of schedule if you are not in love with what you are do-ing...clearly Mr. Robillard and music have had a thing going on for a long while. With a

legend and favorite son of Rhode Island. His guitar playing with them over 12 years drew a huge following as fans flocked to hear this jump blues band that also threw down ballads and rockabilly. In 1981 Duke moved on to a solo career and released well received albums as The Pleasure Kings and also The Duke Robillard Band, before taking over for Jimmy

his own label, Blue Duchess, to highlight swing and jazz record-ings. A year later, they also incorporated a sister label, Shining Stone Records, for strictly blues artists.

Producing his own offerings led to a steady stream of musicians looking to have Duke produce for them, either on his label or theirs.

The prerequi-site to getting a “yes” seems to be that Duke has to believe in what you are putting out. There are so many producing credits out there, that find-ing them can be a treasure hunt for Duke’s musical fingerprints. “The more I record, the more focused I have to be on coming up with some-thing I haven’t done before.”

Duke went on to stress,“every recording has to have a goal and a purpose.”

The history of the music is important to Robillard, both preserving and helping it thrive going forward. He is certainly doing that by taking to Fa-cebook each December to invite

career that has spanned over 50 years, thousands of shows performed all over the globe, garnered awards and accolades from Grammy nominations to the Blues Music Awards, one might be tempted to rest on their laurels, but that is not what is going on here.

Duke contin-ues to stretch himself and keeps creating new releases of his own while also producing others, always with consideration paid to the origins of the sound.

Vaughan and becoming a member of the Fabulous Thunder-birds in 1990. In 1993, as his time with The T- Birds wound down, the much anticipated, straight blues album, Duke’s Blues, launched a collabo-ration with Stony Plain Records that exists to this day. In fact, the latest album, Ear Worms, debuted in May of 2019 to rave reviews on Stony Plain Records.

As a founding member of Roomful of Blues, Duke cemented his spot as a New England

Fast forward to 2009, when together with Jesse A. Finkelstein, Duke formed

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submissions from a deserving youth, to whom he then offers one of his own guitars.

He also offers this advice to up and coming artists - to dig deep into the music you like, find out where it came from, how it developed. “Knowing the history enriches the artist and their craft.”

It has been a busy year of touring. Recently, while playing a festival in Florida, many fans were moved to approach Duke and let him know what he means to them. Duke seems to have been genuinely surprised and enormously grateful for the reminder of how big a part music plays in our lives and is energized as he looks ahead. He expressed it this way: “It was heartwarming, hearing their stories made

brush with a vengeance about five years ago.

He loved it so much, he almost decided to forgo the music, but lucki-ly after healing, he has found room for both.

Heading into the new year, I hope that this and all the columns I do will in-terest and inspire you to learn more and perhaps challenge you to ex-pand your own horizons. Wishing you a healthy and happy 2020 ahead, FULL of Music, Mirth & Mojo!

I invite you to check out Dukerobillard.com to explore more. a difference to me, I was inspired, and I realize I’ve got more work to do!” He is already at it with a new album slated to come out in 2020 titled, Century of the Blues. Also, look for more opportunities to see another side of this multifaceted artist as he continues to exhibit his collection of abstract paintings, some of which grace the covers of his albums. He has always dabbled in this me-dium, but when a rotator cuff injury took the guitar out of his hands for a year and a half, he picked up the

Ali Kaufman

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THE

BRAZEN

YOUTH CAPTURING THE EVASIVE POIGNANCY OF EVANESCENCE

By Charmagne Eckert

“There’s a figure in the field . . . and she leads me to the beach, and we sit there for a while. But when the sun climbs the sky, she leaves me for the moonlight.”

Figure in the Field (edited excerpt) The Brazen Youth

Afternoon sunlight brushes the late summer ę ǰȱ ȱ ȱ ¢Ȭ ȱ ǯȱ ȱ Ě¢ǰȱ ȱ ȱ ȱ Ȭ ȱ ¢ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱĚ ȱ ȱ ǯȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ £ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ǰȱ ȱę ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ¢ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ǰȱ ȱę ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȯ ȱ ȱ Ě¢ǰȱ ȱ ę ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ¢ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ¢ǵȱȱ

48 Mono no awareȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ¢ȱ ȱ ȱ ȱ ǯȱȱ ȱ ȱ ¢ȱ ¡ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ¢ȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ ȱ ȱ ¡ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ǰȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ¢ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ £ ȱ ǰȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȯ ȱ ¢ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ řŖŖȬ¢ Ȭ ȱ ȱ ȱ ¢ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ £ ȱ Dzȱ ȱ ȱǻ ǰȱ Ǽǰȱ ȱ ȱǻ ¢ ǰȱ Ǽǰȱ ȱ ȱ ȱǻ ǰȱ Ǽǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ǰȱ ȱ Dzȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȯ ȱ ȱ ȱĚ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ǰȱ ǰȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ě ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ¢ ȱ ȱ ȱ ȱ ǯ ȱ ȱ ȱ ȱThe Ever Dying Bristlecone Man, ǻŘŖŗŜǼȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¡ ȱ ȱ ȱ Dzȱ ¡ ȱ ȱ ¢ǰȱ ǰȱ ȱ ǰȱ ȱ £ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ǰȱ ȱ ¡ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ¡ǰȱ ¢ȱ ȱ ȱ ȱ ¡ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ǰȱ ȱ ¢ȱ ȱ ȱ ¢ ǯȱ ȱ ȱ ǰȱPrimitive Initiative,ȱǻŘŖŗŝǼȱ Ě ȱ ȱ ȱ ¢ȱ ȱ ę ȱ ȱ ǰȱ ¡ ȱ ȱ ¢ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ǰȱ ȱ15 Billion Eyes, ǻ ȱ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ Ǽȱ ȱ ȱ ȱ ȱ ȱ ȱŘŖŗşǯȱ

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ȱę ȱ ȱ ǰȱ ȱŘŖŗŝǰȱ ȱ ȱ ȱę ȱ ȱ ǰȱ ȱŘŖŗŝǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱŘŖŗŞȱ ȱ ȱ ȱ ¡ ȱ ȱ ȱ ǯȱŘŖŗŞȱ ȱ ȱ ȱ ¡ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ǰȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱŘŖŗşȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱŘŖŗşȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ Ȃ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ Ȃ ȱ ȱ ȱ ȱ ǯȱ ¢ȱ ȱ Ȃ ȱ ȱ ȱ ȱ ǯȱ ¢ȱ ¢ȱ ¢ȱ ȱ Ȭ ¡ ȱ ȱ ¢ȱ ¢ȱ ȱ Ȭ ¡ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ

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“I LOVE YOU LIKE THE FOREST LOVES THE RAIN LIKE THE WATER LOVES THE DRAIN. I LOVE YOU. I LOVE YOU LIKE THE WIND, IT LOVES TO SCREAM. LIKE THE CHILD LOVES TO DREAM, I LOVE YOU.” Burn Slowly I Love You (excerpt) The Brazen Youth

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By Ann W. Semmes

C

onnecticut artist Marian "Bing" Bingham has a way with color and design in her paintings - and in her printmaking.

In her many exhibits across the U.S., Europe, and Asia, a recurrent theme is her passion for horses that she often integrates, half-hidden, into a landscape. In her prints, you'll see an elegant, often whimsical combining of images with a rich color sense gained from her cultured, well-traveled life.

Bing, as she is known, by friend and signature, works out of her studio in Old Lyme and does her printing in Norwalk's Center for Contemporary Printmaking. She grew up in sunlit California, but surely those recent half-years spent painting in Southern France with her author-husband Ken McAdams, have enlightened her color sense.

Bing tells it best: "In France, there is an appreciation of color and how it lends itself to its interiors, its linens, its chinaware," she states. "In its range of orange and blue and yellow, the decorative arts are more lively in color than here." There is a different light in contrast to Connecticut where I live.

Here the colors are more muted and more serious."

So, why not combine her art with decorative items in that French process of chine collĂŠ, a layering of images on paper to make her prints? Didn't she have all those collected papers from Italy, Japan, and elsewhere? Hadn't she admired those illuminated manuscripts with their "wonderful covers of actual jewels" - then cut out those images of jewels from catalogues and magazines?

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Bing and master printer Chris Shore ready plate for pressing

Bing’s collected papers used in her French chine collé print making process

“Waiting” - Bing Bingham Photo by Donna Callighan

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In France, there is an appreciation of color and how it lends itself to its interiors, its linens, its chinaware," she states. "In its range of orange and blue and yellow, the decorative arts are more lively in color than here."

Bing’s collected papers used in her French chine collé print making process. photo by Anne W. Semmes Above Right; “Merci de Votra” - Bing Bingham photo by Donna Callighan

In her studio, Bing demonstrated the creative process of her printmaking, showing the sheets of collected paper, her drawings, and other cut-out images – such as jewels she uses to illustrate her vision or decorate flowers. She adheres to these combinations to her construct via the chine collé process. She then, perhaps, finishes off with a dab of color here or there. Her work is now ready for the printer.

Master printer Chris Shore welcomes Bing in his spacious and personal workplace at Norwalk's Center for Contemporary Printmaking (CCP).

She has been working with this master printer for nearly 20 years. She lays “Summer Night” - Bing Bingham photo by Donna Callighan

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Top Left: “Book of Illustrations” - Bing Bingham Photo by Donna Callighan Top Left: “Sunrise” - Bing Bingham Photo by Donna Callighan Bottom Left: Bing wipes off ink from her images photo by Anne W. Semmes Bottom Right: “Wind From Behind” - Bing Bingham Photo by Donna Callighan

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Master printer Chris Shore inks Bing's plexiglass plate. Photo by Anne W. Semmes

down her paper construct with its images and cut out papers, and covers it with a plexiglass plate. Using a black crayon, she views her composition and outlines it on the plate.

Master printer Shore takes her drawn-on plate, turns it over, and rolls ink across the reverse unmarked side of the plate. Bing then takes the newly inked plate and carefully wipes off the ink within her drawn outline, seen through the plexiglass plate, to show her image. Then, the inked plate is put ink side down onto paper and put through the printing press, and out comes the finished monoprint - raised by the hands of artist Bing, and master printer!

Bing's monoprint of "Moi Meme" (Myself) is featured in this year's CCP

“Jewel Weed� - Bing Bingham Photo by Donna Callighan

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“Candy Wrapper” - Bing Bingham Photo by Donna Callighan

Members Exhibition - "Under the Influence," that runs until February 9.

The monoprint, accompanied by Bing's text provides context regarding why that often occurring horse appears in her art.

Bing has traced her relationship with horses back to her childhood: "I was always in love with horses. I had a horse farm in Connecticut. When I sold the horse farm, I saw that horses were beginning to appear in my artwork.

Horses are so expressive. Instead of choosing people, I was selecting the horse as a vehicle for expression. Plus, the forms of the horse were exciting. This integration has added to my interest in the history of horses in general, and this interest continues to challenge me.

"Horses are connected to me as they are to human beings in social evolution. We don't have the same connection with cows in our culture - maybe we do with dogs. However, our connection with horses is innate – whether we know them personally or have stories about them."

In early December, fourteen of Bing's "Jewel Series" monoprints traveled to

“Moi Meme” (Myself) - Bing Bingham. Photo by Donna Callighan

Moi Même (Myself) Moi Même is a representation of the inner spirit that speaks through my art...inspiration, action, emotion, style, form. history.

In this piece the bridled horse is tied to me. I've been under its spell and influence, intwined with it throughout my life...riding with my family in Wyoming, with my father and as I grew up.

This contact with horses culminated when I owned a horse farm in Connecticut for several decades.

When I sold the property the horses remained...in my work.

Miami for the annual Art Now Fair. Her monoprints are featured with 100 leading and emerging artists at CCP's annual November fundraiser, MONOTHON 2019, at New Canaan's Carriage Barn Arts Center in Waveny Park.

Bing Bingham and her daughter Drika Constantino at the Walter Wickiser Gallery in New York City that exhibited her monoprints last June.

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photo by Jeffery Lilly

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The

Cheesemonger Paul Partica, - The Cheese Shop, Centerbrook CT

Basic Gruyere fondue recipe (Additional recipe and trouble shooting guide can be found in the Ink Nov 2011 edition) Given the hundreds of recipes out there my favorite is the traditional Swiss recipe. It’s tried and true and I‘ve been using it for over 40 years.

• 1 cup dry white wine • 1/4 cup Kirsch (optional) this can be too strong for some, can be omitted • 1-pound Gruyere, shredded or cubed* • 2 tablespoons arrowroot (corn starch or flour will work) • 1 garlic clove • Squeeze of lemon juice • Nutmeg & Pepper to taste • 2 loaves French bread, cut into bite sized cubes

Gruyere

Gruyeres, Switzerland

Gruyere is one of my favorite cheeses. The reason is simple: few cheeses come close to the versatility of Gruyere. It gives fondue its body, onion soup its elegance, and Quiche Lorraine its flavor. In fact it can handle any task when it comes to cooking. It has great melting capabilities, it doesn’t get stringy, nor does it solidify. Heat enhances its flavor and its keeping quality is longer than most other cheeses.

Gruyere dates back to the twelfth century and is named after the town of Gruyere, Switzerland that boasts a valley and castle of the same name. The town is located in the Canton of Friboug and the cheese is produced there and in the neighboring Cantons of Vaud, Neuchatel, and Bern. The cheese is manufactured with the finest raw milk from cows that graze only on fresh, lush, green pasturage. Milk from silage fed cows will never make its way into Gruyere production. The area is rich with Swiss traditional chalets and lush green pastures.

Gruyere is a natural cheese produced in 60-80 pound wheels. The rind is slightly shriveled and oilier than Emmenthaler yet produced in somewhat the same method. It has a fat content of 45% and has less moisture than Emmenthaler. It has almost no eye formation (holes) and, most often, ‘blind’ (no holes) forms are the rule. The cheese is approximately thirty inches in diameter. Gruyere is more aromatic than Emmenthaler and usually sharper. This is due to a longer aging period and its size being less than half the weight of an Emmenthaler. All cheeses ripen from the outside in so a smaller cheese will ripen faster than a larger cheese. You can buy Gruyere at many different stages along the way. I prefer a longer cave aged cheese with much greater flavor. As a side note, Gruyere is occasionally confused by some as a processed cheese found in little cubes or wedges. Though some of the lesser quality natural Gruyere cheeses make their way into processed cheese it should not be confused with the natural greatness of true Swiss Gruyere.

Gruyere has a wide range of culinary uses.You can make a great meal by just slicing Gruyere on dark bread with a little raw onion, mustard, and smoked sausage. Add a crisp white wine such as Chenin Blanc, Riesling, or Chardonnay, and a fresh salad and a simple, appetizing meal awaits you. Pan-frying this cheese dusted with a little flour is a great snack as well. Of the many recipes for Gruyere the following selections are two of my favorites.

* In order to avoid a bland tasting fondue purchase a well-aged Gruyere. Some like to add a quarter pound of Appenzeller, Challerhocker or Vacherin Fribourg cheese to the mix.

Rub the fondue pot with the cut garlic clove (discard garlic). Then mix the shredded or cubed cheese, black pepper and the arrowroot in a plastic bag. Try to coat all of the cheese with arrowroot to stop the cheese from sticking together.

Heat the wine in the fondue pot until hot but not to a boil. Stir in the lemon juice which adds acidity to help the cheese and the wine merge. Add the cheese to the wine, a handful at a time while stirring constantly, until melted and smooth. Top with a little nutmeg and additional pepper to taste.

Cheese Fritters • 12 Slices Gruyere cheese • 2 eggs, well beaten • ¼ tsp black pepper • 1 cup dry breadcrumbs • Oil for deep frying Dip the cheese slices into the eggs which have been beaten with the pepper. Shake off any excess egg mixture. Dip in breadcrumbs. Dip again in eggs and breadcrumbs. Fry in oil for one to two minutes until golden brown. The center of the fritter should be soft and runny and the outside crisp. Serve immediately with a tomato or mushroom sauce or a tossed salad.

I mentioned earlier that Gruyere has a great keeping quality. Due to the pressing of the cheese, and the lack of any eye formation, little oxygen can be trapped under wrapping paper which helps to eliminate the cheese drying or molding. The cheese can keep for weeks if not months. Should the cheese show any surface mold just scrape or cut it off. If the cheese is covered in cling film for a prolonged period of time you might develop what I call a plastic taste similar to cheeses often found pre-cut and cryovac packaged. Although this packing technique helps for mass marketing shelf life it does little to protect the integrity of the cheese. Just remove the surface layer with a cheese slicer to regain the fresh taste. As always, its best to buy smaller amounts more often and, of course, freshly cut. www.cheeseshopcenterbrook.com

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By Art LiPuma, General Manager SeaSide Wine & Spirits, Old Saybrook

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Central Coast California There are many wine regions in the Central Coast, producing excellent wines. One fine area for growing and producing wines is Paso Robles, which consists of about 80 different wineries. This area has quite a few wellknown wineries. Most of the vineyards are in the eastern portion of Paso Robles. The east part of this area generally has hot days and cool evenings, which is excellent for growing Cabernet Sauvignon, Syrah, and Zinfandel.

The wines from this region should be drunk relativity early. The reds typically have medium to rich fruit and somewhat soft tannins. If you purchase the red wines from the west, it usually needs more time before it is ready to drink due to the rugged terrain producing a lot of strong tannins.

Another famous area is Santa Maria Valley, which grows many grapes for big producers such as Beringer, Robert Mondavi, and Kendall Jackson. Due to its colder climate, Pinot Noir and Chardonnay grow well here. In Santa Barbara County, the weather heats up a lot of the growing area, which helps grow Syrah, Merlot, a little Cabernet Sauvignon, Cabernet Franc, Sauvignon Blanc, and Riesling. Santa Ynez Valley starts out along a narrow river that produces enough fog to manipulate the grape growth. However, it runs inland in between the canyons, which changes the growing area to a warmer climate, which enables the vineyards to grow more of a variety of grapes. This region produces varietals of Pinot Noir and Chardonnay at the lower portion of the vineyards.

It progresses to Cabernet Sauvignon, Merlot, Cabernet Franc, and Sauvignon Blanc, where the climate is warmer and better suited for these grapes.

Central Valley produces a few famous California fortified wines from the Muscat grape. Wines that are blended with brandy, a neutral grain spirit, or port wine, which are made of different grapes than Muscat, are considered fortified wines. Santa Clara Valley is a region that is its own AVA for wines. This area was once the home of Mirrasou, Almaden, and Paul Masson but now resides in Monterey. Monterey is also an AVA and known for their

Pinot Noirs. A couple of the top producers in the Monterey area are Chalone and Calera, which are exquisite wineries of Pinot Noir and Chardonnay.

A couple of the other vital vineyards along the Central Coast are Justin Vineyards from San Luis Obispo, which produces top-notch Cabernet Sauvignon and Sauvignon Blanc and Meridian, a producer known for their well priced and different varietals of wines.

One of the great wineries of Santa Barbara County is Sanford Winery. The owner, Richard Sanford, was one of the first growers of Pinot Noir in the country. The winery, in fact, does produce excellent Pinot Noirs and Chardonnays. Central Coast, though not as famous as Napa or Sonoma, is another fine choice of wines from California.

Even though this area doesnâ&#x20AC;&#x2122;t have the popularity of other regions, it still has a strong reputation for being a high-quality California wine.

Cheers!

Art LiPuma

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LIFE ON SUGAR

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Savory Sweets Written by: Heather Kelly, Director of Operations, NoRA Cupcake Company Cake Photo by: Winter Caplanson, Connecticut Food & Farm Cupcake Photo by: Leeanne Griffin, Hartford Courant/CTNow.com

N

ew year, new you. If that new you is cutting back on the sugar, you better make your cheat meals count. Luckily, we’ve mastered the art of the savory cupcake so you don’t have to choose between your salty or sweet fix. There was one incident where we tried to work our favorite brunch cocktail into the mix as a bloody mary cupcake and we’ll NEVER make that mistake again. Some things are better left alone to be enjoyed as originally designed.

The amount of options you have to please your palate with a candied bacon component is rather broad. As long as you bake it up to that perfect crunch, you can crumble it up to use as a garnish on whatever your heart desires. Before baking in the oven at 375° for 20-25 minutes, coat the bacon in brown sugar. Let cool before using and you’ll have yourself a crispy, caramelized, melt in your mouth treat. If we had to choose our top three favorite candied bacon cupcakes, this is what we’d tell you.

BOOZY BREAKFAST: maple cake, bourbon flavored chocolate ganache filling, cocoa cream cheese frosting, candied bacon & maple ganache drizzle.

FAT ELVIS: banana cake, marshmallow fluff filling, peanut butter cream cheese frosting, candied bacon & mini marshmallows.

PAN-CUP-CAKES + BACON: maple cake, maple syrup injection, cream cheese frosting, candied bacon & toasted walnuts. The PAN-CUP-CAKES + BACON has become one of our most popular full size cake options. More cake, more room for candied bacon. Popular for Groom’s cakes, Dad’s birthdays, or maybe just a casual Sunday brunch. No judgement here.

With close to two dozen flavors available in our stores each day, we usually have at least one savory flavor for you to choose from. If you’re really lucky, maybe you’ll catch us on a day when we have the CHICKEN & WAFFLES cupcake in stock. Topped with a mini Eggo waffle and a fried chicken piece, it’s a whole cheat meal in one bite. And, you know, protein from the chicken. Just doing our part to contribute to the food pyramid.

Good luck with the New Year’s resolutions - come see us in Middletown & New London when it’s time for a treat after all that hard work!

JANUARY EVENTS 68

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JANUARY EVENTS 70

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