INK MAGAZINE - March 2022 by Ink Publications

A Guide to Finer Living in Connecticut & abroad March 2022

Vol 17 Issue 194 inkct.com

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MARCH 2022

Vol. 17 Issue 194

Feature Stories

Departments

Le Belle Aurore

The Word of Mouth in Niantic.

Starry Night

Sarah Drought Nebel

Communing with Raptors Profile of a Modern Day Falconer

Greg Shea

Preserving an Artistic Legacy

ZENTANGLE

More than a name it’s an adjective

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54 36

Ask Ashley - Can Fashion Promote Well-Being? Crusty Old Diver - Demolition & Art-cheology Music Mirth & Mojo - On Deck Studio, Northfield The Cheesemonger - Good Things from Small Packages

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March On! We would like to welcome you to this, our latest installment of Ink Publications. Production of each issue can be a hectic time, and this note, these words, are the very last thing I do before putting the issue “to bed.” Grammatical and typographical errors in this paragraph, though frowned upon, are lovingly supplied. I have always viewed this message as a concerted stream of conciousness. It’s literally a live note. I do my best to correct it on the fly but it’s honest, warts and all. In my last note my copy editor did what copy editors do best. She proofed my note and offered to review this before it goes to print. God bless her and it sent me into thinking about the function and purpose of what I write here. I came to the conclusion that this is a thumbprint. It is not exact science, some are clear, others are smudged. Many Native American artist’s used to intentionally add a flaw or “mistake” into their otherwise perfect work. I remember hearing that the thinking for this was to avoid the direct comparison to the work of god. That the artist inflicted a flaw into his work so that in his mind, he would remain mortal and imperfect. Not sure if this is why I fly fast and loose with this note, but it’s damn nice excuse for a typo no? Be well and enjoy! Jeffery Lilly

Contributors

founder / publisher

Ashley Alt - ask ashley

Daniel Lev Shkolnik - editorial

Susan Cornell - editorial

Carolina Marquez-Sterling - design

Caryn B. Davis - editorial/photography

Paul Partica - the cheesemonger

Alison Kaufman - music mirth & mojo

John Tolmie - editorial

Art LiPuma - on the vine

Kate Tolmie - photography

Rona Mann - editorial

Joe Urso - ad design

Advertising

Jeffery Lilly - Publisher 860.581.0026 Bob Houde - Advertising Director bob@inkct.com 860.303.6690

Rona Mann - Greater Connecticut six07co@att.net - 401-539-7762 Richard Malinsky - Shoreline richard@inkct.com - 215.704.9273

On the Cover: “Zentangle” (cropped) Courtesy of Zentangle

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The in Niantic: Niantic: TheWord Wordof ofMouth Mouth in Belle AuroreisisFarm Farmto to Table Table the BeBe La La Belle Aurore theWay WayItItShould Should by Rona Mann Photos Courtesy of Belle Aurore It’s been 16 years. 16 years since she took over the space that needed so much cleaning up, remodeling, and loving, careful attention. 16 years since curious locals and business people stopped in to find out what was going on, shaking their heads saying, “I don’t know if that’s going to go here, but....do you need any help? I’m here to help.” And through a serious recession, what seems like an endless, tortuous pandemic, and every imaginable economic up and down that can befall a restaurant owner, there will most definitely be a 17th year. The reason is a small, smiling woman, but a passionate cheerleader for good food and a good experience. Her name is Dawn Bruckner, and she owns Le Belle Aurore in Niantic. Dawn Bruckner is also the chef de cuisine at Le Belle Aurore. Dawn Bruckner washes the floors, takes out the garbage, and creates both in-house and La Belle To Go menus. Dawn deals one-on-one with the local farmers in southeastern Connecticut on a daily basis, because La Belle Aurore is a true farm to table little find with a fiercely loyal clientele that expands each time a new person experiences Dawn’s flavors. “I know Farm to Table is a pretty overused expression,” begins Dawn, “but that is truly who we are. In the winter, 80% of all our food is sourced fresh locally; in the warm weather that number becomes a solid 100%.” Farm to Table was actually a social movement started – where else? – in Berkeley, California and is credited to Alice Waters of the famous Chez Panisse Restaurant, begun more than a half-century ago as a “slow-food restaurant” to fight the growing popularity of fast food. La Belle Aurore has picked up that gauntlet and championed that idea because Chef Bruckner believes in quality over quantity at all costs and taking the time to enjoy the experience of sharing good food. Even before the word “pandemic” became a part of our everyday vocabulary, Bruckner was a firm believer in keeping her restaurant Belle.AD.3.2022.indd 1-2 small (just seating for 45 in “normal” times, now for 25). That made

a meal a personal dining experience where conversation could be conducted and heard, where people could take their time to make dinner the highlight of their evening and not something you gulped down before going to the movies. Dawn is largely a self-taught chef, although when asked, “How did you learn to cook?” she quickly answered and laughed, “I had two Italian grandmothers!” That, plus a degree in business from Bryant University and some culinary courses at the famed Johnson and Wales, “just to learn the basics,” gave her enough confidence and

background to give birth to La Belle Aurore some 16 years ago and to continue to make it a success. She does that not just with her culinary talents, but by consistently and consciously listening to her clientele. They let her know what works and what doesn’t, what they love to enjoy at the restaurant, and also want to be available to take home. They have made their favorites her sell-outs, and they demand those selections appear on the menu every day. Two of them in particular are the delicious shrimp and crab bisque, a silky, flavorful base with no skimping on the seafood, and her famous chocolate mousse, made in small batches daily and sold out before Dawn finishes the last of the dishes and turns the key in the door. “If they’re not on the menu every day, my customers get ornery,” Dawn reports. Her clientele extends well beyond Niantic as her partnership with local farms like Secchiarolli Farm in Waterford, Full Heart Farm in Ledyard, and Terra Firma Farm in North Stonington has created a relationship where she buys their products for creations, and they, in turn, sell her cookies, soups, frozen dinners, bagels, and stews. “The farm community here is amazing,” Dawn enthuses, clearly loving the partnership they all share. “When I cook, I am always starting from scratch, and every single item on our ever-changing menus (she changes them weekly due to market availability and freshness with seasonal additions) is made by me. Everything except the toast!”

12 To give you just an “amuse-bouche” (A French expression which loosely translated means, “it amuses the mouth,” but in the culinary world is a clever way of offering diners a bite-size hors d’oeuvre or taste of what’s to come), of what’s causing all the word of mouth about La Belle Aurore, here are just a few mouth-watering items from the menu... we could never cover the entire gamut of Dawn’s culinary variety and expertise. Remember, these menus change weekly: Swiss cheese & Chardonnay Fondue with potatoes, bread, and roasted vegetables; Fig & Camembert Tart; French Onion Mac & Cheese with caramelized onions, Shrimp Fettuccine; Lamb Sausage Pasta; and a delicious Sunday Brunch featuring everything from Mimosas with freshly-squeezed orange juice to Hommies, Bagels with Smoked Salmon, Benedicts, Vegetable Hash, and the ordinary made extraordinary. One of the most successful options at La Belle Aurore is the extensive La Belle at Home offerings, both in the cooler changing daily and in the freezer. In addition to that sought-after chocolate mousse and the shrimp and crab bisque which is also gluten-free, people with good taste love the La Belle at Home good taste of Korean BBQ Meatballs, Short Rib Ragu, Beef Shepherd’s Pie, Chicken Pot Pie, White Bean & Potato Puttanesca Stew that’s both

vegan and gluten-free, and those very special house-made Sleeping Giant bagels. There are always sweets perfectly packaged and sitting on a central table just waiting to go to your home and find their way to your mouth: cowboy cookies, chocolate chip cookies, snickerdoodles, apple cider donuts, and more. Dawn recognizes the growing popularity of meatless meals and knows that they don’t have to be bland or lacking in flavor, so each Meatless Monday she features a different Date Night kit, showcasing the cuisine of different countries worldwide. Just a sampling might include Taiwanese Mee Fun with mushroom and scallion dumplings; Majaderru Lentils, rice, and crispy onions with spicy sauce, and an Aspen Fondue kit with your choice of swiss or cheddar fondue. Check the website frequently for the days and hours when dinner is served, but La Belle at Home is a daily happening with menus that never grow tired and old. Keeping people interested and excited about food, pricing that’s equally fair and balanced, wine and beer available to complement all cuisines, and most of all a smiling one-man-band of a woman orchestrating it all. “I do have help in the busy season and proud to say my staff stayed throughout the years, but most of all it is my customers to whom I owe my success. Recession, pandemic, bad weather... they always found a way to have a taste of La Belle Aurore whether here in the restaurant or at home, and I am so appreciative to them for that.”

“...but mosst of all it is my customeers to whom I owe my successs. Recession, pandemic, bad weather w ...they always found a waay to have a taste of La Belle Aurore whether here in the restaurant or at home, and I am so appreciaative to them for thaat.”

With that, o our visit with Dawn was up. Tim me to get in the kitchen and start m making the shrimp and crab bissque, the client favorite chocolate mousse, and all the special disshes that would be disappoints. When you say y, “worrd of mouth” in expected in the freezerr,, and the chef never d Niantic, it’s really just an amuse-bouche forr La Belle Aurore. h one woman could ld do d in i 166 years!! Just look J l k at what Have a taste of a really great re restaurant at 75 Pennsylvania Avenue in downtown Niantic, just off Rt.95 North or South at Exit 74. Reservations ONLY, Y, please! (860) 739-6767 www.labelleau urorreect.com

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Donna Ferr e ato, a By leaving her husband, Mary empowered e e her four daughters to never e tolerate a abuse, St. Paaul, 1985. Archiv c al giclée print, gift of Dr.. Rahul and Mrs. Sonia Shah, 2017.13.29.

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FOUR ACTS On view through June 19 thru Ap pril 7, 2022 This exhibition is made possible thanks to o a grant from Guilffo ord Savings Bank in partnershiip with the Community FFo oundation off Middlesex County.

Examining women’s contributions to modern and contempora ary photography, this exhibition presents compelling photograp phs of female innovation, powerr,, and identity.

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625 Williams Street New London, CT 063 320 M U S E U M www.lymanallyn.org

A R T

Virtual t l LLecture t SSeriies for the th month th off March M h

THE ART OF OF AMERICA: How Great American Artists Revealed a New Country and Its People

Thursdays, March 3 – 31, 2022, 7:00 pm m Bob Potterr,, fo formerr LAA Executtive Directorr and engaging lecturrerr,, will lead you on an exploration of of iconic art from the mid 18th centu ury to the earlyy 20th century by Am merican artists who reveal the people and historic events of a new nation as it evolves through some off its most turbulent an nd transfformative eras. RE EGISTER https://lymeartassociation.org/art-of-america-registration//

www.L LyymeArrtAssociation.org Exhibition art by Jacquelinne Jones, John Tr Traynor, Barbara Lussier, and Shauna Shane. Lecture art a by John Singleton Copley, Childe Hassam, Geeorge Bellows, Thomas Moran, and Winslow Homeer

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AskAshley

How Does Fashion Affect Our Wellbeing? You are what you wear...

Spring is in the air! Or at least it has been a few times up until now. We are happily shedding our overcoats and comfy sweats and hopping into flouncy dresses, tapered chinos, and loafers (without!) socks. As the days stretch longer and the birds chirp louder, there is but one question lingering in the back of our minds — what the hell do we wear now? It’s funny, isn’t it? Once we look out our windows and see sunshine instead of snow, a small sense of panic ensues — we suddenly have no idea how to dress ourselves, even though this is far from our ﬁrst seasonal transition rodeo.

a means to an improved mental state. Because when we dress better, we feel better. And when we feel better, we do better.

Fashion is emotional. Here’s an experiment for you: Put yourself (literally or metaphorically) in ratty sweatpants and an oversize t-shirt. Rough up your hair and dribble toothpaste on your chin. Now go across the street and invite your neighbor to a dinner party. How do you feel? Embarrassed? Ridiculous? How is your posture and eye contact? Are you fidgeting on the doorstep or ringing the doorbell with confidence? My guess is, you probably aren’t feeling too hot. (You definitely aren’t looking hot). And you’re probably thinking,“I would never do that.” Which is precisely my point. Before I go on, I want to remind you that it isn’t a sin to want to look good. It’s a simple (science-backed and evidenced-based, may I add) formula: When we look good, we feel good about ourselves. When we feel good about ourselves, we are nicer to both ourselves and those who come in us. with contact Happy individuals = happy interactions. Happy interactions = a pleasant life.You get it.

Getting ready for work or whatever the day calls for, we stare into the abyss of our closets, ultimately asking ourselves the one thing that will guide us through the next several waking hours — “Who do I want to be today?”

I think a lot of people want to play the blame game on fashion for its stereotyped superficiality, when in reality, dressing up has the power to completely change the way we treat ourselves and others. Like the infamous Tom Ford said, “Dressing up is a form of good manners.”

Whether you view getting dressed as an extension of your personality or just something you do each morning, one thing is for sure: you will put clothes on this season. And as a lifelong researcher of the inextricable link between fashion and psychology, I’m here to tell you that your style choices have a huge impact on your mood, and even your behavior.

When we look in the mirror and we like what we see, we feel like we can conquer the world. When we dress carelessly, the people we interact with will remember not what we said or how we made them feel, but how rumpled we looked. But! When we dress well, people will remember you.

Instead of doling out regurgitated style tips from fashion’s past, I’m going to explain why what we wear matters, and how we can use our clothes as

My point is, the clothes you choose to put on really affect how you put yourself there. And no matter what we’re doing — working from home, working from the office, taking care of our kids or attending an event,

19 we want to feel comfortable and confident on the inside as much as we do on the outside. By viewing fashion as a mental pick-me-up, we have the power to control our attitudes and overall mindset. Here are a few reminders to put the fun back into dressing up, no matter your age, professional title, or whatever label you place on yourself.

Fashion is a fun way to bond with friends They don’t call it retail therapy for nothing. Clinical psychologist Scott Bea, PsyD., conﬁrmed the brain-based effects of shopping in a recent health article, saying,“Research suggests there’s actually a lot of psychological and therapeutic value when you’re shopping, if done in moderation. Even window shopping or online browsing can bring brain-fueled happiness.” The reasons why? Shopping restores a sense of control. So when something in our life feels out of control, like a messy house, shopping makes us feel better. In addition, visualization distracts us from any negative feelings we might be experiencing, like anxiety, overwhelm, or sadness. This is why“Art Therapy”is also a thing. And when we’re sharing this shopping experience with friends, those feel-good emotions are heightened, as we’re receiving literal hits of dopamine from shopping plus the connection we feel with a friend. This goes beyond shopping, too. Remember back in college when getting ready to go out to a frat party was more fun than the actual party? That’s because the anticipation of a fun event (in this case, the frat party) elicits feelings of excitement. And when you’re sharing that giddy enthusiasm with friends (while picking out the perfect outfit), the feeling is even stronger.

Fashion brings people together You know those statement-making t-shirts? The ones that say things like, “Being kind is cool,” and “Coffee ﬁrst, please?”They aren’t just making a statement for the person wearing it. They are attracting fellow, likeminded people into your orbit, and showing others what you stand for in life. Whether it’s a strong political statement or silly saying like,“Sorry I’m late,” you are blatantly showing people some facet of your personality. Think about protests, parades, and other community-focused events you’ve attended. What you wear is a huge part of whatever the cause is because you are showing up as a collective, sharing the same viewpoints as everyone else you’re marching with. Carolyn Mair, PhD, and author of the book, The Psychology of Fashion, says (in her book) that “feeling happy by yourself is great, but what we really want are happy interactions,” driving home the point that when we feel good about ourselves — confident in our skin and powerful in our clothing — those feelings are often reciprocated in our interactions. Whatever your fashion sense is, make sure you’re following the most important rule of all — there are no rules!! Being yourself is and always will be the most fashionable trend of all. Sign up for Ashley’s newsletter, https://ashleyalt.substack.com/ where she provides weekly insight into how we can keep our mental health spirits up.

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saat in the darkened classroom, looking up at th he screen wiith the iconic drawing by Michelangelo blown n up in full view. Jim Wheelerr,, m high scho my ool art teacherr, had a pointer in h hand. He began to trace the lines in the his d drawing and talk about the artist. He showed h how the line from the shoulder disappeared through the ttorso and came out to form the hip. The delicate line defines the curve of the h urned head, reappearing in the neck of the tu shoulder blad de. The line of the chin re-emerging in the twiisting spine. On and on. Like a dance. A conttinuation. Everything connected in a disapp pearing, reappearing string of harmony. W Wiitth a line. Defining a figure, light and dark falliing over it like a veil. Falling over everythiing, through time into infinity y.. Michelangelo o reached out to me, through time, through h my teacherr, with a drawn line. I was not the only one profoundly affected by y this great teaccherr. Many like me, went on to b be i d/ to live artists, and/or li artful f l lives li because b off his influence. One of my favorite stories as a child was Harold and The Purple Crayon by Crockett

Stud dies for the Libyan Sibyl 1510, Michelangelo Buonaarroti

Johnson. Harold literally drew his world. His adventures, his way ou trouble, and even ba to the safety of his ow comfy bed and moon lit window were all realized by his trusty purple crayon...his imagination. The magic of the purple crayon fascinated me as a child and is a powerful metaphor for me as an adult. The power of the imagination. The power the drawn line and the writtten word. And nature. When I was a kid I sspent most of my time in the woods climbing trees orr,, at the b h if we were near one. W beach Wee moved d around d a lot. I am one of four children, and my father was an author. James W Wiilliam Drought was a paratrooper in the 82nd airborne division in the Army y,, who then went to Knox College

The Gypsy Moths MGM M Poster 1969

where he met my mom. While there, he wrote the The Gypsy Moths, was made into a motion picture in directed by John kenheimerr,, starBurt Lancasterr,, ne Hackman, and borah Kerr. When got the advance r the movie, he ought a V Vo olkswaen bus that he named Brunhilde. Dad did not know that this would be the last payment he would receive for the movie. We saw it open in Radio City Music Hall after which it was y MGM. Dad was silenced, and wee became like the barnstormhis novel/movie, The Gypsy ing skydivers in h when we were destitute and Moths. But even w belongings in the bus, Dad had most of our b would make “nessts” for the four of us. Each had his/her own favorite things in their place. pad and pencil. I would Mine always y had a p p draw the backs off the heads of my family y, and when Mom wanted w to take a nap and Dad was driving at night, I, the other night n the front seat and keep him owl, would get in uld talk for hours. This was company y. W Wee wou

Betty Pia, Inspiraation for So Long Chicago Original Painting Silverm mine Guild Acrylic, 1981

w when we began talking about Viincent Van G Gogh and other artists like Kathe Kollwitz, G Georgia O’Keeffe, and Paul Gau uguin. Artists tthat dad would later give me beaautiful b books about, that we loved to read together. E Th and d Especially i ll Vincent and d his hi broth b her h Theo t their letters to each otherr. Dad’s stories and p of sacrifice. The poetry often echoed a message o G Gypsy Moths, Mad Crrow (a poem, in his book o poems and short stories, Grreen n, Brown & of R and Starry Night, alluding to Jesus Christ Red) a Viincent V and Va an Gogh. When daad died from ung age of 51, a massive heart attack at the you m mother and older brother haad this poem, my S d placed on Starry Night put on a plaque and housing in a rock where we lived in public h Westport, stport CT where it still stand ds on North C Compo Road. D wrote one of his last novels, So Long, Dad C Chicago about an Improv troupe couple based o a portrait I had painted in a cclass at Silveron m mine Guild. The model in clown n face was a s stage actress and the wife of an aacting/improv t teacher there. He used it as the ccover art for t book. Later I was to actually hand that the b book, unknowingly y, to the womaan whose face w on the cover! She had been tthe model that was we painted that day in my portrrait class. Dino was taking acting classes with heer husband at the time.

Inspired by the Painting g Daisy Drawing, Gordy Whiteman, Poet Laureate L of Guilford Connecticut, Wrote this Poem.

Pencil Drawing of Izzy, 11 x 14, 2019

Daisy Drawing, Oils, 16 x 20, Sara Drought Nebel

I married Dino Nebel of Westport a year after Dad died. Dad (and Mom) had sat in Dino’s grandfather’s (Berthold Nebel) historic stone sculpture studio. They admired The Wrestlers and the many other original sculptures while meeting Dino’s family. Dino went on to be an actor, a chef, a blaster, and a hockey coach. He and I have three talented children, and we“barnstormed’ through life with them, first living in Westport, and then moving to Madison. Dino was a brightly burning star who lost his life early as well in 2016, to a heroin overdose. My brother moved his new family to Madison in 2005. I babysat for Daisy and Jack (Daisy’s older brother who was a very gifted young artist in my art classes early on) when they were little. I entered a portrait of two-yearold Daisy in the Madison Art Society’s juried exhibition, which was juried that year by artist David Dunlop. The painting, Daisy Drawing, won Second Place. During the exhibition, The Guilford Poets Guild was invited to write a poem about a painting of their choice, to be read on a poetry night during the exhibit. Gordy Whiteman, Poet Laureate of Guilford and Connecticut, chose my Daisy Drawing painting to inspire his poem of the same name. In the poem, he alludes to Vincent Van Gogh’s Starry Night. Dad would have loved it. While sitting there listening to Gordy read his poem, I could feel dad in the room. Daisy Drawing hangs in my brother’s house along with a portrait of Jack. Daisy is now 13, and she will have both the painting and the poem someday. Gordy Whiteman wrote that poem a decade ago. I talked to him on the phone recently, and he graciously sent me two signed copies of the poem Daisy Drawing, giving me permission to share it for this article. Gordy was born in Guilford in 1929 and is still vibrant, feisty, and brilliant at age 92.

Daisy’s Apple, Oils, 20 x 24, Sara Drought Nebel

So many lines connect in our lives from the past to the present, weaving in and out of this artful existence on this earth-rock hurling through space.

My life has mirrored my fathers in many ways. I outlived him, as did my mom and now all my siblings. He said in a letter he wrote to me before he died that I am like him. My life has been difficult too, with struggle, tragedy, and loss, but I am blessed to have the same optimistic, romantic point of view as my father. He never gave up. He sang songs while driving us to some hopeful “somewhere” in the bus and told stories like no one else I will ever know. In the movie, Field of Dreams, which was Burt Lancaster’s last film, I see him. His rebelliousness appears in the beautiful poem written by Gordy Whiteman, in his young granddaughter’s face, painted by his daughter.

Clockwise: Truro Duneshack Oils 20 x 24, Wharf Rock Storm Acrylic on Paper 6 x 8, Studio Still Life Shelf, Truro Storm Oils 20 x 24.

The 1969 movie, The Gypsy Moths was rereleased many years ago and is available to rent now on Amazon Prime. Just recently, son Cory happened to find a radio interview with dad (James Drought, author, The Secret) and Studs Terkel, from 1963! An hour-long interview in which we all get to hear his powerful young voice. What a gift.

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Spring into Art March 4 to April 15, 2022 Opening Reception Friday, March 4, 4-7 pm Neal Hughes Spring Mist, Oil, 12 x 20

Kelly Birkenruth Lighthearted Lemon, Oil, 8 x 8”

Anne McGrory Anne McGrory Perched, Pastel & Gold leaf, 5 x 7”

Susan Powell Fine Art 679 Boston Post Road

Madison, CT 203 . 318 . 0616 www.susanpowellfineart.com Jeanne Rosier Smith Ebullience, Pastel, 12 x 12”

Leonard Mizerek Sunset Sail, Oil, 11 x 14”

These Bird ds Need ly Three Onl O e Things: Safety, M Making Safety, Babies And d Ea ating. Babies, at t’s Tha s It.”

Comm muning g un ng With W s R ptors Rap P rof Of A Mo Mod ode D y Fa lcon r By John Tolmi o e Photos by Rick Kollmeyer

he first recorded practice of falconry was over twelve thousand years ago by an Iranian king who hunted with the aid of winged raptors. An ancient hunter could bring home enough small game to feed a family every day without setting a snare o or losing os g a single s g e aarrow. In modern society, the art of falconry and its ancient tradition is carried forward by a select group of individuals. The practice is highly regulated by both state and federal governments requiring prospective falconers to undergo extensive training, ongoing testing, random inspections, and a lifetime of mentor-ship. One such fellow began his journey to wear the leather gauntlet over four yeears ago. Anson Smith is a proud Swaamp Yankee, lifelong hunter, an avid outd doors-man,

and dedicated conservationist. There isn’t an outdoor spo ort that he hasn’t mastered in the woods, wild ds, and waters of southern New England, and a just when he thought he had done it all, a friend of his invited him to trap a juveniile wild hawk. “I got into it about four yearrs ago. It’s something that I've always been intterested in since I was a little kid.” Anson reccalls, “Back in g grade school I read ‘My Side of o the Mountain.' I loved that book! And if yo ou talk to ninety percent of falconers, they’’d all agree that book perked their interest in n falconry.” . At his home in Southern Rhode Island, he walks to the bed of his truck, opens the rear cab, and drops the gate to reveal a white plywood box. A sizable decal has been afffixed fi d on it its ffront-hinged t hi dd door with ith b bold ld letters warning, ‘DO NOT OPEN.' He places a finger to his lips. It is time for silence as he

flips the latch and opens the box x. Anson reaches inside with a gauntlet-covered left hand and retrieves a massiv ve redtailed hawk. She grasps deep in nto the thick glove with one talon and then t the other and emerges into the crisp p morning air. A small, fitted hood covers h her head and eyes, only exposing her yelllow-black curved beak. Bells jjingle g from her h leather-covered talons as she spreadss her wings and ruffles her feathers like a do og shaking its fur after a swim. She stretchees her massive wingspan a few times to orrganize her plumage as her talons work alon ng Anson’s gauntleted arm for balance. He uses his ungloved hand to remove her tiiny helmet. Piercing yellow eyes blink and ffocus as she takes in her surroundings. A hush reigns i ffor a momentt tto b behold h ld h her. She Sh iis as brilliant and beautiful as she is intimidating and undomesticated.

With the hawk now perched calmly on his arm, An nson continues, “I like to do things the old way y. I’m into preeserving tradition. But I never had the time to dedicate to fallconry. I have a friend who is a falconer and for years he kep pt trying to get me into it, but kids, coaching, work, and life had other plans.” He says as he rubs the falcon’s neck, “The tiime was finally right, and I got invited to trap a new bird. We drive d until til my friend f i d points i t to t a hawk h k sitting itti on a water around t tower. We We pull overr,, and he sets a trap about a hundred yards away y.” Anson rolls his eyes and chuffs, “I'm like alright, yeah, this is going to work. Well, we wait for about a minute and that bird flew into the trap like it was on a string! It was unbelievable. It blew me away!”

Ansson laughs causing the raptor on h his arm to spread its wings in resp ponse. He grunts a soothing tone and feeds her a morsel from a pouch arou und his waist as he continues, “So,, my friend walks overr, takes the bird d from the trap, and says he’s takin ng it back to his house. I took the wheeel as he sits on the front seat with a wiild redtail hawk sitting in his lap. To say the least, I was hooked.” The morning is fading, and the time to hunt is at hand. Anson places thee hawk into her travel box and sets off to a grassy field just a few miless away y. In the state of Rhode Island, falconers may only trap raptors in their first year of life. This regulatio on offers a unique effort in conservatio on as nearly ninety percent of all birdss of prey die within their first year in n the wild. Conversely y, raptors who are a cared for by a falconerr,, have a nine-ty-eight percent chance of survival in their fledgling season. In fact, thee practice of falconry has saved the peregrine falcon from near extinctio on, engendering healthy populations that now thrive in cities and woodlands around th he globe. It is not a sport, but rather a lifestyle, as thosse entrusted with these animals must dedicate hours of daily training, health checkups, feeding, and ex-ercise to ensure the bird's well-being. The financial investment is in the thousands for a custom shelteerr, traps, feed, equipment, and safety gear for the birrd and falconer alike. alike Within the four years Anson has been involved, his current feathered partner is the second specimen taken under his wing. “When I release her to hunt today y,, she might not come back. The last birds I trained just took off and, poof. Gone. That’s the unique aspect of this partnership.

The bird is s free to lea ave v anytime sh he wa ants.' ‘Th hese birds are n not pets. This is i a partnersh a hip built on trust.”

The bird is free to leeave anytime she wants.” Anson n explains as we drive, “These birrds are not pets. This is a partnerrship built on trust. Most falcon ners don’t name their birds eitheer. But my buddy nicknamed tthis one Thumper because when n she hits, she hits hard!” Anson pulls into a w wide field that is surrounded by tall trees and covered in the cchest-high thicket. He retrieves h his hunting partner and begins to explain what is about to unfold. “When I release herr,, she’s go oing to land on one of those treess bordering the field. When she takes position, we are going to w walk toward her through y. Okay y,, h th h the th bru b ush and push any game hiding her way here we go!” Anson n lifts his arm signaling Thumperr to take flight. She heads to a gnarled limb of an ancient oak k, landing with grace and tuck nless. Anson ks in her wings becoming motion signals to move into o the field. He beats the brush wiith a stick and barks and bello ows to flush the small game into the open.

“

Let’s give her one more shot, and then we’ll call it a da ay.”

"There she goes!” he booms as Thumpeer dives toward the ground. Indeed, her moniker is appropriate as she hits with ha hearty thud. “Good girl!” Anson shoutts as he runs through the briers, then lean ns overr, and blurts, “She missed. It was a rabbit. It dove into its hole right there.” He says pointing to his left with a chuff, “Go rabbit! Not today girl. Let’s try again.” He scoops up th he hawk and makes his way to the edgee of the field once again. His arm raisees up giving Thumper a boost which sh he uses to take flight once again, this tim me heading to the opposite side of the treeline. Anson moves into the brush h as thorns pull and tear at his waxed canvass outer layer as he trudges forrm ward. Another furry critter bolts from the underbrush as Thumper attacks n from above. She hits the ground even harder this time and is once again denied. he The game of predation continues as th morning sun rises overhead with three attempts by the duo, all without success. “W We’ve scoured the entire area.” Anson says apologetically y, “Let’s givee her one more shot, and then we’ll call it a day y.” The grassy plot that had been first covered was chosen for the last d effort. Anson thrusts Thumper toward om the tree line. Sh g obeys y and roosts on a perfect p hiding g place p to survey y fro he again above. The bru ush is beaten again, as Anson growls working his way forward towards Thum mperr. Suddenly a rabbit darts from its coverr,, races across an open trail and Thum mper seizes her last opportunity y. She dives like a missile and hits the ground witth her trademark meaty thud. This time her talons have found her mark with a raabbit pinned to the earth beneath. She postures her wings and en-

“

Once she gets bor red of me or I make a mistake, she’ll take off an nd join her place in the w wild.”

velops her catch as if to hide her prize from otheer predators. Anson laughs and shouts some "atta-girls!" to hiis feathered hunting mate. He kneels next to her and assists iin dressing hem aside the prey by removing the innards and tossing th picks at her which may contain harmful bacteria. Thumper p fresh meal as Anson feeds her treats from his pouch. She impossibly stuffs herself with a bulge in her esophaagus growing as she stores the rest of the meat in her crop for llater digesm. But it is tion. Anson and Thumper make an amazing team hings: safety y, purely business. “These birds need only three th ys, “Now that making babies, and eating. That’s it.” Anson say until she’s she’s fed, she’ll relax in her shelter at the house u hungry again. She only puts up with me becausee she trusts g bored of mee or I make a me as a mate of sorts. Once she gets mistake, she’ll take off and join her place in the w wild.” If you would like to learn more about this ancient tradition n, visit the Connecticut Department Enerrgy g and Envirroonmental Prroottection or the Rhode Island Department of Envirroonmental Prrootection weebsites for all the requirreements to become partners with a winged raptorr.

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served as a living space for the proprietor of the ground floor watering hole. As well, legend and local lore speaks of a dual purpose as both bar and brothel All photos, art, editorial, and renovations by John Tolmie until 1920 when prohibition began. The Tavern closed its This crusty columnist has a passion for doors and soon reopened as an innocent finding buried trinkets from the past beneath ice-cream parlor. In 1933 Prohibition was the waves, hidden in the earth and occa- lifted and with alcohol being more profitsionally behind a plaster wall. Like many able than frozen milk, the Tavern would other Nutmeggers who love the outdoors resurrect once again. and dread the winter months here in Connecticut, the majority of us agree our This fact would be corroborated by chance. A humble New England State is best enjoyed kindly nonagenarian had lived across the in Spring, Summer or Fall. Winter is a street with her grandparents as a young child perfect time to delve into those projects at in the mid 1930s. She recalled a night when home that have been put off during the her grandfather had promised to be home at more favorable seasons. a certain time. However, the drink had taken hold and minding the time had beEvery year for the past five years my wife come slippery. Grandma, on the other hand and have tackled another room renovation held a ﬁrm grasp of time with each passing as the cold sets in. Our current house was hour. With a wife’s patience finally exhausted, built at the turn of the 19th century as a grandma stomped across the street to gather Tavern. It is a simple two-story post and up an inebriated husband. Perched at her beam construction, where the upstairs bedroom window that night, the grandchild

Demolition & Art-cheology History Lingers Within the Walls of this Old House.

witnessed her grandparents get into it. A commotion began as grandma entered and ordered her husband to come home. The usual hum of drunken patronage ceased. Laughter boomed with the grand daughter giggling in sync as she watched her grandparents escalate

their impasse in the middle of the street. The memory from ninety odd years past was shared with a chuckle as the story concluded. Her grandad disappeared back into the Tavern and grandma tromped across the street parting ways in a volley of colorful epithets. However, there is evidence of generations of children that resided in the

upper level. A particular knot had popped loose in the kitchen. Marbles by the dozens had been flicked into the hole by the thumbs of few mysterious young folk. Clay marbles, made by hand are most likely the first to find rest under the floor. Fine rolled glass specimens with telltale bubbles were added next. Milky twotone porcelain orbs also found their way between the floor and ceiling below. Cats eye, solid color and swirled opaque designs were added to the hidden collection. Each room provided a crack in the wood floor for some odd item to slip through such as a pocket knife, a comb, cloths pins, dozens of buttons, a Connecticut trolley coin, a rusty harmonica, a lead soldier, one made of green plastic, silverware, a chess piece, a tuna dart, fishing weights, and other trinkets from previous owners. A friend said to look out for coins placed in the trim surrounding and old window. Carpenters of old had a tradition where some would stuff a coin when installing the final

window during construction. When prying free a piece of molding last year, I heard a dull clink hit the ﬂoor. The date and other details had been worn away over time, except for the

39 faint outline of a Buffalo. The nickel was placed in a Mason jar that filled higher with each new discovery. The floor boards were the true time capsules as receipts, postcards, notes, newspapers and baseball cards were found. A milkman had delivered a past due bill of $17.70 to a Mr. Joseph Algerie in 1947. That’s equivalent to $223 today! Joseph was apparently a father to Joseph Junior who was nicknamed Blackie. This is evident from a postcard sent to the young lad from a afar by a friend or relative named Gladys. Perhaps some of the toys found in the walls of the old Tavern belonged to young Blackie. We purchased the home from the Schneider’s, a young married couple who fled from Nazi Germany during World War Two. Both were skilled in the arts, a vocation that was persecuted by the maniacal regime of oppression. The duo purchased the Tavern and converted the lower level into a small playhouse. For many years our future home was filled with stories and poems being recited with intimacy to those in audience. Mrs. Schneider even wrote a book titled Hardships and

Magic. A copy of the tome was given to us by a neighborhood friend. The couple left behind a few photos that had been stuffed into a sleeve of instruction manuals for the home’s utilities. Of course, they are snap shots of them telling stories. Preserving these left-behind totems ﬁlled to the top of the Mason jar over the past few years. The vessel of trinkets were shelved and peered out through the glass kitchen cupboard until a better idea came to mind. A trip to the craft store was fruitful. With two shadow boxes in hand and a hot glue gun, the process began of sticking each found treasure onto the canvass face. Somehow, each and every piece found a new home inside the deep frame of the shadow boxes. Today they hang in our living room to be enjoyed for years to come.

Much booze, a fair amount of ice cream, more booze, tales of old, and the rhythm of prose filled these walls. Keeping with tradition, stories are still told, booze is always chugged, pints of Ben and Jerry’s is spooned and perhaps a few items continue to slip away and hide in the walls as a memory of us to be found many years from now.

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On Deck Sound Studio, Playin’ in the Forest By Ali Kaufman

Nestled in the forests of Northwestern Connecticut, On Deck Sound Studio is a welcoming space that is celebrating a new decade of creativity. Tracy Walton has had a studio for at least 20 years but it was ten years ago that On Deck Sound Studio came into being. I first met Tracy as half of the popular duo Belle of the Fall and more recently had heard his latest CD, Small Town America. Reconnecting and getting to see where the music is made was a fun field trip to Northfield Connecticut in the beautiful Litchfield Hills, I can only imagine how special it would be to arrive here as a musician about to embark on a new creation. You literally arrive on the deck, as you enter it feels like the outside is ushered in with you into the light filled room. Don’t let Beans the cat out

on your way in, the very handsome feline is a constant presence and clearly one of Tracy’s biggest fans. The vaulted ceilings and neutral tones carry through from the production space into the recording studio. The interaction between the two rooms is not hindered by the door and wall separating the two, as they are all glass and provide a full view of the entire studio. The lay out has proved a beneﬁt during the pandemic as there is a back entrance via the rear patio. Artists can attend a contact-less session with Tracy and still

have the entire studio and instruments at their disposal. Focusing on helping others realize their musical vision has been rewarding and how Walton chooses to spend a majority of his time of late. There is no typical artist or band that Tracy collaborates with, some creatives arrive with full band, tracks laid out and ready to hit the ground running. Conversely, a singer / songwriter may have a vision and the passion to take the next steps, but not a clue how to begin. They have all come to the right place,

ing and sussing out the core of what is being expressed, even if the artist isn’t all that sure themselves. Tracy went on to say that one of the best compliments upon completion of a project is, “I can’t believe this is exactly what I heard in my head!”.

every project is about, “getting to understand where they are coming from and how to help them realize their vision”, Tracy shared. The only way to get there is spending time communicat-

While On Deck is considered a boutique recording studio it offers full production options that cover every facet of actualizing a record or recording project. From the myriad of instruments to the musicians to play them, Tracy

has it covered, often with the core of his “house band” consisting of Jeff Howard playing guitar, Glen Nelson on keys and Steve Peck on drums. Tracy is himself multi instrumental and often lends his skill to recordings on guitar, piano, cello, upright bass, mandolin and more. From there he branches out to booking even more talent like pedal steel, violin and of course horns if the project calls for it. The actual recording is the nucleus but the album art, photography, video shoots, branding and media/radio campaigns are also integral parts of getting your music heard. Walton has the ability to provide assistance with all of it and he brings to each undertaking years of experience and a wealth of connections. The website has a plethora of videos to check out that highlight the variety of talent this studio works with and the quality they put out. Fans of Lake Street Dive will immediately recognize lead singer Rachael Price singing with Taylor Ashton in the studio, other videos tell a story like Kristin Flagg’s , If You Return to Me, off her album Brave New View…her latest release, The Other Side was also recorded at On Deck Sound Studio. You can follow

44 the studio’s Youtube channel for even more videos like the animated one Tracy did for the catchy title track of his own latest album, Small Town America that came out in 2021. Belle of the Fall was the successful duo that had Tracy proudly partnered with ethereal voiced Julia Autumn Ford, they had a great run from 2015 up to last year, with 3 albums a couple of singles and tours that included Canada and SXSW. Fans of the elegance of their catalog are about to get shook up with the entrance of a new collaboration that Walton has on the horizon with Growing Giants. Long time friend and music veteran Rob Zawisza demands your attention when he takes the microphone for lead vocals, I won’t get into likening his voice to others but I will say it was unimaginable to me that singing has not been his day job, he has magniﬁcent command of his

powerful voice. The two are writing original music and may include a cover on the debut album that I for one hope gets out sooner rather than later. Led Zeppelin’s, In The Light is incredibly suited to Rob’s voice, with support from Matt Starr of Ace Frehley on drums, Cosmos Sunshine on guitar, Glen Nelson on keys and Tracy holding down bass, cello and harmony, this will have you doing a double take, video of the recording of the song is posted on the Growing Giants Facebook page. The core of the group will always be Tracy and Rob, with players

added for recording and hopefully a live show to debut their music that is a completely different facet of Tracy Walton’s musicianship.

The teaching component afforded by collaborating with Walton can not be overlooked. “ I was fortunate to have great people take me under their wing, it’s only right to pass that along”Tracy gratefully imparted. He clearly feels a responsibility to steward artists that are just beginning their journey into the business of music. Having authored 3 instructional manuals for Alfred Books and taught for years at the National Guitar Workshop in Connecticut, Tracy is abundantly qualiﬁed to guide talent and help them avoid the pitfalls that trip up so many. He

also enlists the many artists considered part of the On Deck family to help elevate the group as

a whole. Tracy wants all to feel invested in the success of the musicians that record here by lending their talents to each others projects. While musical recordings seem to get the most notice it is worth mentioning the various commercial endeavors that have found their way, most often though word of mouth, to On Deck Sound Studio. Audio books, voice overs and business projects are all handled professionally and personally by Tracy, no one gets reffed off. With much travel being curtailed over the last 2 years, this local studio has become a convenient and expeditious way to complete jobs remotely. It is a boon that there is so much talent concentrated in our small state, the artists and big names that live here never fail to surprise me. Tracy was humble as he mentioned some of the names he has worked with, to him they are most important because they have entrusted him to deliver an excellent ﬁn-

ished product and enjoyable working relationship.

Walton is optimistic about the future as he heads into the new year with at least 10 albums in production at varying stages of their progression. The constant forward motion and newness of each day seems to fuel the passion that Tracy has for his chosen career path. He may be busy but will always make time for an idea or artist he believes in. Whether you are a music fan or a creative, I invite you to check out this jewel in the woods and the magical sounds they are sharing with the world.

On Deck Sound Studio is located at 127 Campville Road, Northﬁeld, CT 06778 You can visit them online at https://ondecksound.com

Spring is nearly here! Time to gett ou ut and adventure!

R3 Thrifftt Shop

PRP-R3 is continuing to crreate and grow. Our plan is to become a destination, and, with the opening of Café ELLA and the Antiquarian Book Room, we have completed ph hase two of our project. The next phase will be to finish erecting the animal center for the e rescue and education, and reh e abilitation of our exotics.

CAFÉ ELLA and d the he Antiqu i arian i B Book k Room arre now open!

PR P RP is a 50 01-C3 C3 Non-p -prro offiit Org Orrg ga anizatio o n. All your d do o ations go dir on diirre ectly to tth he cca are ar e and rre ehabillitatiio on of our animals.

Café ELLA and Thr T ift shop open Tues Sat 10-5; Sun 10-2 Donations accepted Thurs - Sat 10-2

112 West Elm m Street; Deep River, CT. (860) 322-4275

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&% !# % && % &*& & % % # & %! %) & %! % ! &%) &%) % #% *&! *&! *! ! &*% *) % &% % &% ! %! % & )*%! % ! & ! &*%! % % !%') %) % &% % % )% ) % % &&'%!% ) & ) % )% % *) % % )* %

GRE EG SHEA

Preserving g an Artistic Le egacy +*)('&%$#%"!*# %$ % ! # & % #% *& % &!

Morgan Le Fay by Greg Shea

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John Cofffer -Tintype Photographer

Rashmi Talpade a -Photo Colllage Artist

Tintype Photo of Caryn B. Davis -P Photographerr, Photo by Caryn B. Davis

To om Mahoney -Photographer and Glass Artist

Paul Duda -Photographer, Instructor

The genesis for this idea came into fruition when Shea was h helping to organize and install two different exhibits at the New Haven n Museum and at the Lyman Allyn Art Museum. Shea, who has worked d as the Senior Museum Preparator at the Ya Yale Center for British Art for the past 25 years, collaborated with Drr. T Taanya Pohrt, an art historian and curator at Lyman Allyn. Both shows were curated by Pohrt, aand both featured works from the collection at the New Haven Paint & Clay Club, founded in 1900 of which Shea is the president. “W Working o on those shows with T Taanya made me aware of how difficult her job as an art historian and curator could be when trying to piece together scant bits of information about lesser-known regional artists from various collections,” he said. Shea thought the process would be much easier if the biographical data and images were obtained while the artists were still active and alive, rather than by conducting posthumous research. This information could then be archived for future historians, curators, scholars, and others to access and use. “I think the legacy of an artist should not only include the works of art they leave behind but also stories about how and why they do what they do, what other artists and interesting people are they connected to, what impact have they made locally and beyond; and most importantly y, who they are as people. Hopefully y,, my project will help to tell some of those stories and shed some light on who is making the art we see around us,” Shea says. For his portraits, Shea shoots in his studio or takes his 8x10-view camera and portable makeshift darkroom on location to photograph his subjects in their own environment posing with their artwork or creating it it, for example example. He wants the images to truly capture the person as they want to present themselves, and how they want to be remembered many years from now.

Wiill McCarthy -Painter, Printmaker, Instructor

“

Abbie Griffiths fi -Painter and Sculptor

Amay ya Gurpide-Painter

“I am interested in the uniqueness of this process and the fact that each image you create is a unique object unto itself that comes out of the camera as is. It’s not a reproduction or a print made from a negative. It is its own thing, and it stands alone,” Shea says. “I like the tangible nature of it as opposed to something like Instagram, where people are just posting millions of photos every day that don’t have any physical substance and are ephemeral. I like the object nature of these, and that they will last for hundreds of years.”

Shea uses a processing technique nearly identical to the way the images would have been developed during the 19th century y. He pours liquid collodion onto a prepared aluminum plate that has been lacquered black. He then takes the plate and places it in a tank of silver nitrate which makes it photosensitive, so it reacts with the light. He puts the plate in the camera, removes the dark slide from the plate holderr, and makes a 3-15 second exposure depending upon whether he’s using sunlight, ambient light, or artificial. After the plate is exposed, it is developed in the darkroom, similar to how black and white prints are produced. Once in the fixer bath, the image is chemically converted from a negative to a positive. The last step is varnishing the image which protects it. If done correctly y,, a tintype can last for centuries.

“It’s nice to be keeping a lost art alive. I think we are so over-saturated with images online that seeing an analog process and something handmade that creates an actual object people can hold, treasure, and preserve is very appealing. Pretty much everyone who sees them wants to know more or wants to have their portrait made,” Shea says. Shea hopes to exhibit his project in a gallery or museum once he has more tintypes alongside a piece of artwork created by the artist whose portrait is portrayed. For morre information log onto www. grreegsheacrreeations.com.

Front Cover Spread of Morrg gan Le Fay Full Size

Portrait by Caryn B. Davis, Smaller Inset Courtesy of Greg Shea

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W hat ta kes e xt raordinary craftin g talent and is made of 100-year-old reclaim ed barnwood ? (Massive and beauti fu lly uniqu e! Dan iel 's Amish)

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56 "...Moving the mind in silent reflection of the lines that touch the corners and fi fibers" ...of the angles and rhymes and the triangle lines..." Love's Lines, Angles, and Rhymes, The Fifth Dimension - 1971

"Y You Have to Understand, It's an Adjeective" by Rona Mann/Photos Courtesy of Maria Thomas and Rick Rob berts

he four-year-old little girl loved to draw. She wanted to be an artist. She just knew it. It was in her bones and in her heart. When she grew up, she would be an artist. She would draw beautiful lines and circles and dots... and that was that.

The five-year-old little boy loved ed quiet and being centered, even if he was too yo oung to even know what "being centered" was all aabout. Little more than a toddlerr,, he knew h he wanted to be a monk when he grew up. W When he did grow up, he dabbled in eveerything from printing to music to o driving a cab, to the investmen nt world, and yes, he lived as a monk for some 17 years in both h the United States and India... India and that was that. Serendipity is a curious thing. It sneaks up behind you in life and grabs you by the ankles, forcing you to hit the pavement and perhaps have a revelation in the process. Although the little girl, named Maria and the little boy y, Rick, had pursued different paths, it turns out they had both grown n up in the same small New Eng gland town just south of Worcesterr,, h had even attended the same high scchool, but didn't meet until they had lived a whole bunch of separate lives. After working in retail, waiting tables, t bl aand d llearning i to make her own clothes, in 1979 Maria started a calligraphy and design company y, Pendragon Ink, exercissing her innate creativity creating beauty with pen, ink, and paintt. Thirty years laterr, it had g / y design g and production p grown into a wholesale/retail stationery company with a small staff, then one day along came a former monk, and the two fell in love. Fairy tale ending? Hardly y.. This was only the beginning and the beginning of a whole lot more than just two lives merging blissfully y.. Serendipity was about to do some serious ankle grabbing yet again.

American flutes and had previously Rick was now carving native A sold them at local and regionaal craft fairs. Once he mastered the began working with Maria in her art, his interest waned, so he b stationery business. Together tthey decided to try craft fairs as a vehicle for selling her botaniical illustration prints which she inscribed and personalized on n the spot. Not only were they an instant hit hit, but fair aattendees attende loved watching Maria as she created d the leetters with a keen eye and skilled haand. Maaria and d Rick listened to the chatter o the crowd, of c the intonations always the saame. "I wish I could do what you u do." "If only I could do this, I'd d be so happy." "I just don't h have the talent." Sometimes the w word "talent" talent was replaced d by "time," "money y," "training g," "patience," or "motivation n." The excuses seemed to take on a pattern of theirr own, and yet the desire ffor creativity was so strong. So much so that Rick started d to silently take notes of all th he "excuses" overheard. On ne day y, when he saw Mariia so thoroughly absorbed in heer draw wing to the point of whatev ve -is- beyond-reverie, er b Rick realizzed theey werre on to something. There was a way everyone e could draw with h no excuses and a fin nd a kind of enlightenmen nt in doing so. The T co ouple decided to get away to a B & B iin Western t n Massachusetts M for the weekend d to explore it furtherr.. They talked d in the carr, whoever was passen nger at the moment taking copious notes. They cloistered themselvees in their room and kept talking, an nd by the time they went to dinn ner that final night g they y were still ttalking. g They y had designed g an en ntire system, but what to call it? "I don't remember which one of us came up with the name," said Maria. "But whoever said 'Zentangle,' that was it," added Rick finishing her sentence. Visiting with the couple one finds that is

58 common. They are always finishing each other's sentences, not in an interruptive or intrusive way, but it would appear that as one breathes in, the other breathes out. The passion, gratitude, and utter joy are palpable as they sit in their 1875 Victorian home, a place where a method of lines, curves, dots, and design has now gone worldwide in popularity and scope. Consider for a moment the word: Zentangle. The "Zen" part is the peace one derives from creating what they term the "tangles." The couple is quick to point out that the word is singular, most definitely not plural! It is an adjective as in Zentangle method, Zentangle art. According to Maria and Rick, the Zentangle method is an easy-tolearn, relaxing, and fun way to create beautiful images by drawing structured patterns, one stroke at a time. It is both an art form and a life skill and can easily be taught to elementary school children, teens, adults, seniors, residents of nursing homes, and those with cognitive issues...all can easily grasp it and thrive. The equipment is not expensive, the creativity can occur anywhere (a doctor's waiting room, on a bus, train, or plane, at a desk during coffee break...anywhere)! There is no right or wrong, no preconceived notions or ideas. You are not drawing a person or an object, and there are no mistakes, excuses, or erasers in the Zentangle kit. Matter of fact, the kit comes with no explanations. It's a beautiful box in which you store your creations, where you find museum-grade, print-making paper called TILES. Also, special PENS with pigment-based archival ink, a medium soft graphite PENCIL, a SHARPENER, BOOKLET OF SUGGESTIONS, and a DVD with no spoken instructions. But once again, no eraser. "There are no erasers in life," explains Rick. It's been nearly 19 years since serendipity disturbed Maria's reverie. 19 years since the couple took that trip to western Massachusetts, ensconced themselves in a room, and gave birth to the Zentangle method. Now the method is being taught in 62 countries around the world, there are 6000 certified Zentangle teachers, and hundreds of thousands of people of all ages enjoy the creativity, the peace, the silliness, the fun, and the sheer joy of putting pen and pencil to a 3 1/2" square tile not knowing or planning what the end result will be. Rick and Maria have traveled the world giving classes from New Hampshire to Shanghai, and the letters, calls, and emails received tell a wonderful story. "We heard from a Head Nurse of a Critical Care Unit in a New York hospital. All her patients are hooked up to morphine which they themselves can control by pushing down on a pump. After introducing the Zentangle method to her patients to quell the monotony of ongoing pain, the nurse noticed less and less morphine was being used. At first, she thought her machines needed to be recalibrate. When they were, and the results were the same, she realized that creating the Zentangle tiles took their minds off their pain.

The Above Two Zentangles Courtesy of Pattie Moore

Maria and Rick tell similar stories about how "losing themselv ves" in the Zentangle method also helped d people with fear of flying, insom mnia, and depression. "It's all about the b balance of structure and freedom m within that structure," Rick said, and Mariia added, "freedom to make it yo our own." ade it her own. Pattie Moore, a reetired optiA resident of Southbury y,, CT ma cian, discovered the Zentangle method four years ago. With a lifelong backative outlet. ground in art, she was always looking l for new options as a crea This led to a course at a local arrt studio taught by a CZT (certifieed Zentangle ngle process. teacher). "I was surprised at ho ow captivated I was by the Zentan mension. It was relaxing, creative, and fu ulfilled my need for detail and dim Little did I know how much I would w embrace it during our pan ndemic." The couple's daughters, Martha a and Molly are part of the organ nization and y, handle product development, training, t and event management;; additionally a foundation has been establish hed to fund research, help with sccholarships, and provide supplies for those who may need assistance. Have they thought about franchising the Zentanglle method? In chorus there is a firrm and resolute, "No! W Wee don't want to o sell, we don't want syndication. We're happy here in our little house. There ar a e no dues, no buy-in. We We ask no othing of the people who enjoy the Zentanglle method, just passion and gratittude." Life is about passages, about eevolving and moving from one th hing to anotherr, and yet in the case of Maria Thomas and Rick Robertss, they each marched fearlessly in the direcction of their passion, never look king back. In retrospect, very little had chan nged since those long-ago childh hood dreams. The little girl who loved to draaw and knew she always would is still doing so. And the little boy who wan nted to be a monk when he grew w up has found the enlightenment and b bliss he sought in all he does. Isn't that a wonderful story? Time, perhaps, to write your o own. It all begins with a simple liine, a few dots, and an open heart. And that's that. For further information on getting started, finding a teacherr, or becoming a certified zentangle teacherr, find all the answerrs at www.zentangle.com

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Good Things from Small Packages

photo by Paul Partica

The

Cheesemonger Paul Partica, The Cheese Shop, Centerbrook CT

As a child I never had faith in the expression, good things come in small packages.I wanted the big box with the big toy. With age comes wisdom. Many of the best cheeses are the little ones. They usually fall into the very young families of cheese such as the soft-ripening, washed rind, blue cheese and goat families. They are often between two to sixteen ounces and are meant to be eaten within thirty to sixty days from creation. In Italy fresh mozzarella is considered old if it’s over twenty-four hours old.

Camembert Fermier For those of you who have had Camembert in France or are old enough to remember raw milk soft-ripening cheeses when they were allowed in the United States, this is the cheese for you. Unlike most American versions of imported, now pasteurized renditions, this is the real deal in taste even though pasteurized milk is used. It has the pungent aroma associated with raw milk and washed rind cheeses and the taste with a lot more character. This is a member of the soft-ripening family that uses the white bloomy mold Penicillium Candidum as its surface mold. The cheese comes in an eight-ounce round piece. It has a short shelf life of about ten days to two weeks. This depends on the age and condition of the cheese when you buy it. Be sure to ask your cheese monger this question.

Epoisses This is one of the few cheeses we carry from the Burgundy region of France. It has a slight washed rind outer covering. It’s a little milder than most of the more pungent cheeses in this family. We call it the Chateau Laﬁte of specialty cheeses. At room temperature it has a lush creamy smooth consistency, perfect for a fresh baguette. It’s a small round cheese just a little over eight ounces. As great as this cheese can be you really need to know its condition when you purchase it. If a couple days over ripe it can ruin the experience. Be sure to discuss when you are going to serve it.

Fromage De Clarines This cheese is made in the Comte region of France. It has a delicate mild soft washed rind outer surface and one of the mildest of this family. A young cheese can often be thought of as being a soft ripening cheese. It’s a good choice for someone looking for a cheese with a little more character than brie but not as strong as the typical washed rind cheeses. It’s made of pasteurized cow’s milk because of its young age when shipped to the United States. Remember cheese under thirty days old must be pasteurized to ship to the United States. My experi-

ence has shown it to be more consistent with a longer shelf life than previous cheeses mentioned.

Harbison Harbison is a festive cheese, made for that perfect occasion. It’s the cheese to go with that vintage bottle of wine you’ve been storing in your cellar. It is a domestic version of Vacherin, a cheese made in Switzerland and France that’s only available certain times of the year. Harbison from Vermont is available all year long. It too comes with a unique package surrounded by a special processed spruce bark. This bark not only adds to the ﬂavor but it helps keep it shape. When served at room temperature the cheese gets very soft and would run like honey. The best serving suggestion is to leave the cheese in the bark, peel back the top skin and scoop out the cheese like a perfect fondue. That’s festive to me. Harbison is a soft ripening cheese with a bloomy rind. It’s made from pasteurized cow’s milk. It is made in small sizes,

La Petite Reine Triple Crème Brie This is a little triple crème (75% butter fat) cheese from France made from Pasteurized cow’s milk. The cheese weighs in at 4.4oz. Perfect served on a slice of pear with acacia honey as a dessert. Its small size is good for two or as part of a large cheese board.

Pico This soft-ripening goat cheese from France is a nice addition to the group. Its 3.5oz size can serve as a single serving if need be or an addition to a larger charcuterie tray. When ready this cheese is soft and creamy with a little tang of the goat milk. Once ripened to the correct taste proﬁle for you, feel free to freeze it if necessary. Once you freeze cheese you stop the ripening process. Thaw out in the fridge, not at room temperature.

Robiola due latte This is one of my personal favorites. It comes from Italy and it is made from pasteurized cow and sheep milk. It’s in the soft ripening family with a little more character than a brie. The blend of the two milks really helps create the additional ﬂavor. It has a nice creamy smooth taste that I prefer with a baguette. All of these cheeses are delicate and have a short shelf life. Only buy what you will use in a week or two. Bring cheese to room temperature for an hour or two before serving but don’t unwrap until you’re ready to eat. The cheese is a small square weighing approximately nine ounces. Paul Partica, The Cheese Shop CheeseCT.com

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