LAKEVILLE — Attorney General William Tong knows first hand about the plight of immigrants.
He spoke to a standing-room-only crowd at Trinity Lime Rock Church March 6, which together with those on Zoom totaled 225. The event was hosted by Vecinos Seguros 2, a grassroots organization that works to make sure those without legal status know their rights.
Tong has been an outspoken critic of President Donald Trump’s immigration policies and is part of a group of attorneys general around the country who are banding together to take legal action against his actions.
He stirred the audience with his personal story. Growing up in West Hartford, where he remembered kids showing up at his school from Cambodia, Laos and Vietnam after he was the first Asian student enrolled, he thought “they were refugees and I was the son of immigrants. I thought I was better than them. In fullness of time, I realized what we were all doing here. My parents and grandparents ran for their lives in China. I am nothing but the son of refugees. There was no daylight between those kids and the immigrants showing up today.”
Tong related how his parents met while both were working in a restaurant in Hartford. One day, in the 1970s, a representative from the Immigration and Naturalization Service showed up and because his father was undocumented, was threatened with deportation. After much thought, the senior Tong was resigned to the fact he would have to leave. But shortly before the deadline, while driving along the Berlin Turnpike, he decided to make a last-ditch effort. He went home and wrote a six-page handwritten letter to then-President Richard Nixon explaining his case. The INS agent returned later and said the president had read the letter and sent the message that the country welcomed him and urged him to stay.
Tong said he’s often asked what brings him hope during these times. “In one generation, I went from that Chinese restaurant to attorney general of this state. There are kids out there now; families living with that dream. We need to help them keep it.”
The attorney general said that when Trump talks about denaturalizing citizens and then about anchor babies, he is talking about him. “Banning birthright citizens is utterly and brazenly unconstitutional.” Audience members, as they did several times during the presentation, applauded loudly.
Speaking on the importance of immigration for moral and economic structural reasons, Tong noted, “America runs on Dunkin’ and immigrant workers. There would be no economy without immigrants.” Half of all farm workers are undocumented, as are half of those working in the meat packing industry he said.
It was standing-room only for Attorney General William Tong’s talk on immigration at Trinity Church Lime Rock Thursday, March 7. Photo by Ruth Epstein
Touching on Connecticut’s Trust Act that was passed in 2013, Tong explained that it limits how local law enforcement can cooperate with federal immigration officials to protect the rights of undocumented immigrants. He called efforts to repeal the act “ridiculous,” saying “the federal government does its job and we here do ours.” He said if anyone tries to get rid of the act, he will fight it and believes he’ll win, emphasizing several times that Connecticut is a sovereign state. The federal government has a lot of power, but can’t come to Connecticut to tell its citizens what to do.
When asked what people can do to help those without legal status, Tong advised not to put anyone at risk and make sure they have a plan if ICE shows up. Agents must have a judicial warrant to come on private property. He also recommended they seek people who will provide pro-bono legal advice. He said those holding green cards have legal status and should be respected by ICE. He also recommended not using the word “sanctuary” since it has no legal meaning and can be inflammatory. He was also forthright in saying not everyone can be protected from deportation.
He added there is no evidence to support the claims that immigrants create crime more than American citizens and stressed the Trust Act does not protect violent criminals.
At the outset, Tong said he and his colleagues had sued the federal government when Trump and the Office of Policy and Management tried to freeze all federal funding for a variety of grants, especially those dealing with medical research. “We now have an injunction to stop him from breaking the law. Remembering we have checks and balances, we’re serving as the only check since there is so much disinformation out there.”
Coming to the end of his message, Tong’s tone was foreboding. “We’re not on the precipice of a constitutional crisis, we’re in one. Trump is already not in compliance with federal court orders. If he doesn’t follow Supreme Court rulings, we’re in a dark place. We all have the responsibility to take to the streets and speak out.”
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That sense of shared purpose is at the heart of the invitation Gast extended to artists Natalie Baxter and Janis Stemmermann to process a bumper crop of Japanese indigo (Persicaria tinctoria) at her studio this fall. All three artists’ practices intersect through material, process and an interest in the handmade. Gast and Stemmermann have collaborated on a series of hand-knit vests dyed with black walnut, available through Stemmermann’s store, Russell Janis. Baxter is a Wassaic Project residency and fellowship alum, who is leading a community quilting workshop there on Nov. 15. She also co-directs “Cottage Courses” with artist Polly Shindler, a series of hands-on artmaking workshops throughout the region.
“Lisa Dachinger of Hilltop Farm & Fiber Arts north of Pittsfield, Massachusetts had an abundance of indigo this year,” said Gast of her learning about the crop’s availability.In two trips to the farm, Gast harvested the plants and began experimenting with the ancient art and science of extracting pigment from the plants and transforming it into rich, layered blues.
Artists Christy Gast, left, and Natalie Baxter in Gast's studioPhoto by Natalia Zukerman
“There are a lot of steps,” Gast noted with a laugh, as vats of aerated indigo bubbled in the corner of the studio. The process is slow and physical, dependent on timing, temperature and a kind of faith in chemistry. The freshly harvested Japanese indigo leaves are first soaked in warm water and left to ferment for several days. The plant matter is then removed, the solution is strained and the pH is raised with the addition of calcium hydroxide, and then the mixture is aerated, poured back and forth between containers until it oxidizes and the pigment turns dark blue. After the indigo settles to the bottom, the resulting paste is filtered, dried and ground into powder. Only then is it ready for dyeing.
But as Stemmermann pointed out, “It’s not a dye. It’s a coating and reaction.” Indigo’s elusive chemistry means each piece is unpredictable, shaped as much by chance as by control. To achieve a deep, saturated blue, “you have to layer it and dip it up to eight times,” she explained.
Each artist uses dye in their work, albeit quite differently, yet all share a deep sensitivity to material and process. “There is a seasonality to textile work,” said Baxter, referring to dye plants.“First, there’s the planting. And then you wait for them to grow, you harvest them, you dye the fabric and then it’s wintertime.” During quilt season when our attention turns inward, the patient, hands-on process becomes a meditation on slowness for Baxter, mirroring the rhythm of the earth and a quiet longing to move with it.
Processing Japanese indigoPhoto by Natalie Baxter
For Gast, working with plant dyes is a way to align artistic practice with ecology and activism. “I’m working on a project that will be showing at Mass MoCA in 2027,” she explained. “It’s a collaborative opera about peatlands for which I’m producing a textile installation that functions as the curtains. I’m using as many natural and regional processes as possible because our work has to do with local-to-global activism and conservation. There is a chemical alchemy in peatlands, which despite covering just 3% of the Earth’s surface, capture more than twice the carbon of all the planet’s forests combined. There’s a direct poetic alignment between plant dye processes and peatlands, which preserved some of the earliest textiles we know of. And the color palette is ancient, both familiar and uncanny.”
There’s a certain chaos in balancing experimentation with intent. For Gast, Baxter, and Stemmermann, this first attempt at pigment extraction has been as much about curiosity as outcome, a communal act of making, rooted in patience, experimentation and discovery.
To find out more about these artists, visit: christygast.com, nataliebaxter.com and janisstemmermann.com
