When cellist, composer and filmmaker Christopher Hoffman moved into the former home of Rex Brasher in Amenia in August 2023, he didn’t arrive with a plan to make an album about the painter and ornithologist who once lived there. But once he began to learn about the home’s former inhabitant — about his attention to land, to birds, to work done slowly and with devotion — he started to compose. “Rex,” Hoffman’s solo cello album (releases Jan. 16, 2026) is not a portrait of Brasher so much as an echo of a person, a place and a way of seeing the world.
Brasher (pronounced “brazier”) was born in Brooklyn in 1869, the son of a stockbroker whose passion for birds left a lifelong mark. After his father’s death, Brasher vowed to paint every bird in North America, and to do it from life. He eventually created more than 1,200 works, depicting birds with a precision and intimacy that bordered on obsession. Working largely outside the art world, Brasher lived on 116 wooded acres he called Chickadee Valley, where he painted, wrote and published his monumental 12-volume “Birds and Trees of North America.”
Rex Brasher at his home in Chickadee Valley.Provided
Founded in 2008 to preserve Brasher’s legacy and promote bird and habitat conservation through art, the Rex Brasher Association became an early point of connection for Hoffman, who composed and performed an original piece at the 2023 Rex Brasher Symposium just months after moving into Brasher’s former home. After many years in Brooklyn, Hoffman and his family had been looking for a change when they were shown the 116-acre property by association board member and architect Matthew Schnepf, who shared the history of the land and of Brasher himself.
“We’re the first renters outside of Rex’s family,” Hoffman said, explaining that the house is rented as part of an agreement to maintain the estate. Upon moving in, Hoffman dug deeper, purchasing the two-volume set of “Birds and Trees of North America” and immersing himself in Brasher’s world. Around the same time, and at the encouragement of composer, saxophonist and flutist Henry Threadgill, Hoffman debuted his first solo project at Tomeka Reid’s Chicago Jazz String Summit, planting the seed for the 13-track album that he then composed, recorded, mixed and mastered in Brasher’s home. The RBA (Rex Brasher Association) was equally supportive of the finished work, granting Hoffman permission to use Brasher’s artwork for the album, including the swallow-tailed kite painting that appears on the vinyl packaging. “You open up the record and the whole painting is right there,” said Hoffman.
‘Swallow Tail Kite’ by Rex BrasherProvided
Though birds are central to the record’s spirit, Hoffman deliberately avoided literal birdsongs. Instead, the cello is layered into dense soundscapes that suggest rather than illustrate. “There are tracks with tons of layered stuff where I guess you could hear bird sounds if you wanted to,” he said. Brasher’s refusal to accept approximation — destroying paintings when feathers didn’t look right — mirrored Hoffman’s own instincts as a musician. Tracks were built, discarded, rebuilt. Nothing stayed unless it felt true.
For Hoffman, “Rex” became a kind of reckoning. Though Hoffman has begun noticing birds with new intensity, using the Merlin bird app to identify some 30 species on the grounds, he says Brasher’s acuity still feels out of reach. “Even with binoculars, I still can’t see the details he was seeing.”
The album will be released Jan. 16 on Out of Your Head Records. Composed for acoustic and electric cello, the record reflects the solitude and intensity that shaped both Brasher’s vision and Hoffman’s process. “This guy was working so hard,” said Hoffman of Brasher. “And it was like, ‘Alright, Chris, get it together. Make the solo record you’re afraid to make.’”
To listen and purchase the album, go to: https://christopherhoffman.bandcamp.com/album/rex
Marina Kotchoubey at the Ian Ingersoll Cabinetmakers showroom in West Cornwall.
Sometime in the mid-2010s, with grandkids accumulating, he started to picture a future away from the shop. It was getting time to step away and enjoy what he insists is one of the most beautiful parts of the world: the Northwest Corner of Connecticut. But just because he was aging out of the job didn’t mean his employees needed to as well.
Ingersoll recognized the home he’d built for these creative experts — a place where they, too, could make their livings building masterworks of fine furniture. So, for his next big challenge, he began the search for someone he could trust to take what he’d made and build it even better. After searching for quite some time, he decided to look next door.
Technically, Marina Kotchoubey grew up in Manhattan but she spent weekends and summers in Cornwall, Connecticut, feeling more at home amongst the woods and rivers of Litchfield County than in the subways of the city. But business opportunities kept her away from making her permanent home in the region.
After college, Kotchoubey moved to Paris to run the U.S. branch of children’s fashion brand Petit Bateau. At the young age of 23, it was a job she wasn’t ready for. But that’s where Kotchoubey finds her creative challenges.
By pairing the experience of her peers and coworkers with her razor-sharp intuition, Kotchoubey ran the brand with seamless expertise despite her lack of experience. She jumped into the deep end of the pool and challenged herself to swim. For seven years, she swam like an Olympian.
After her time in France, she felt ready to finally make a home in Cornwall. With no career or even job lined up, she approached several local businesses around the Northwest Corner and offered to help out in a consulting capacity. After years of challenging conditions in the deep end, this seemed like calm, shallow waters. And that’s when her neighbor, Ian Ingersoll, approached her.
At first, he was looking for a little help with business issues. Ian Ingersoll Cabinetmakers was doing well, but a younger customer base of homeowners and interior designers weren’t as keen on classic Shaker furniture. Though the studio had already started to diversify their offerings, Kotchoubey was instrumental in implementing a smooth transition to other styles of furniture. Ingersoll saw that, thanks to her breadth of experience and enterprising vision, she could take the baton and run with it.
In 2025, he handed her the keys.
When she took the reins, Kotchoubey saw two new ways forward. She could shake things up and pivot the shop toward installations and on-site custom builds. This would require new equipment, new clients and possibly new craftsmen. The other path leaned into what she had already helped the company do: expand its offerings and cater to a new, less traditionally minded clientele.
With confidence in her craftsmen and the reputation their work has garnered, she resisted the urge to pivot and instead relied on what makes Ian Ingersoll Cabinetmakers great — high-quality furniture made by expert craftsmen.
The journey isn’t quite as easy as it sounds. There are great challenges that come with being a young woman in an older man’s world. Firstly, she had to win the respect of her employees, despite not sharing in their skills and know-how. She accomplished that, once again, by listening to the experts and not forcing her vision on a remarkably capable group. The woodworking side of things might be new, but her ability to swim in unknown waters has proven unflappable throughout her career.
Now in its sixth decade of operations, Ian Ingersoll Cabinetmakers shows no sign of slowing down. Kotchoubey’s leadership is finding new customers by expanding on the reputation of the work. With increasing demand and a steadfast commitment to slow, quality jobs, don’t expect to pop into their West Cornwall showroom and leave with a piece anytime soon. Lead times on custom creations range from 12 to 16 weeks, but if things keep going the way they are, that wait could get even longer.
To see some of the company’s offerings, visit ianingersoll.com.
Marina Kotchoubey at the Ian Ingersoll Cabinetmakers.Photo by D.H. Callahan
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