SALISBURY — The Board of Finance voted Thursday, May 5, to send the budget proposals of the Board of Selectmen and the Board of Education for the 2011-12 fiscal year, as presented at public hearing, to a vote at a town meeting Wednesday, May 18.The proposed selectmen’s budget for town government is $4,948,508, an increase of $54,691 or 1.12 percent over 2010-11. The new fiscal year begins July 1.The proposed budget for Salisbury Central School (SCS) is $4,802,422, an increase of $176,262 or 3.81 percent.Salisbury’s contribution to the six-town Region One School District for 2011-12 is $2,991,037, down $31,644 (1.05 percent). The Region One budget passed at a referendum vote May 2 (see story Page A1).Total education spending for Salisbury for 2011-12, if the SCS budget is approved, will be $7,793,459 (up $144,618 or 1.89 percent).Total expenditures for the town of Salisbury, if approved, will be $12,741,967, an increase of $199,309 or 1.59 percent.At the public hearing May 4, finance board Chairman Bill Willis sketched out a “mill rate scenario” that figured on an increase in the mill rate from the current 9.5 to 10 mills.Willis said that a .5 mill increase translates into a property tax hike of between 2 and 3 percent. Because this is a revaluation year, however, taxpayers whose assessments go down 6 percent or more will experience a reduction on their taxes at the 10 mill rate, he added. Willis said approximately 65 percent of taxable properties will have a smaller tax bill, and about 35 percent will see an increase.At the finance board’s special meeting May 5, the board voted 5-0 to approve the selectmen’s budget as presented, and 4-1 on the Salisbury Central School budget, with Don Mayland casting the dissenting vote.School budgetsThe budgets were presented to taxpayers at a meeting at Town Hall May 4.SCS Principal Chris Butwill was the point man for the school budget proposal, and he began by pointing out that in the last two budget cycles the Board of Education came in with minimal increases.Anyone expecting a showdown over class sizes (as there has been in recent years) was disappointed. There was only one question: Could SCS get by with fewer teachers? Butwill replied that the Board of Education decided to go with a plan that calls for 22 classroom teachers, and a second-grade class split into three sections instead of two.Asked what the cost per pupil is, Butwill said the yearly cost is $17,657 per pupil, which works out to $98.09 per day.Salisbury resident Chris Janelli asked about line 72 in the school proposal, titled “grounds.” It is up to $24,041 from $15,145, an $8,896 increase. “Two words,” replied Butwill. “Bark mulch.” He explained that playground areas, by regulation, must have certain depths of mulch to ensure a soft landing for anyone who takes a tumble off a piece of equipment.Janelli also asked at what temperature the school buildings are kept during the winter. Butwill wasn’t exactly sure, “but in general we don’t have the school roasting.”Municipal spendingFirst Selectman Curtis Rand presented the municipal budget proposal, noting that all town employees got a 1 percent raise, except the selectmen.That statement was challenged a little later, as the spreadsheet that was handed out indicates that the first selectman’s salary is going from $63,414 to $73,316.Willis took the floor again to explain that the longstanding policy of “merit pay” for the selectmen, an unusual arrangement by which the Board of Finance could allocate a bonus (about $8,000 for the first selectman and $1,000 for each of the other two selectmen), essentially for a job well done, had been discarded.The policy had been questioned repeatedly in recent years. Willis said the Board of Finance agreed to review the policy after last year’s public hearing.“People wanted to see it in the salary line,” said Willis. “After review, we decided to take the suggestion of the public. If people vote a person in [as first selectman], that person should get that salary.”The merit pay has never been withheld, Willis continued, so while the figure in the salary line is larger there is no net increase.One alteration in policy is the shifting of money from the road work line to the capital spending line for two new Highway Department trucks. Rand said this is just a one-year change, and that roads will be paved and bridges repaired as usual.Not-for-profits that receive grants from the town — including the Scoville Memorial Library, Housatonic Youth Services Bureau, Housatonic Child Care, Salisbury Visiting Nurse Association — are receiving the same amount as last year. “That’s with some regret,” Rand commented. Later, Selectman Jim Dresser said this is the third year in a row that grants have not been increased.“We’re trying to keep taxes down, but the people who benefit most from the nonprofits are doing worse.”
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Textile designer Justine Valla sits in her father’s chair, which she painted, alongside her husband, illustrator and muralist Victor Valla, in their Atelier Valla studio.
“I was always drawing as a child,” Justine recalled. Victor dreamed of illustrating magazine covers like those of the “Saturday Evening Post.”
Victor studied design and illustration at Rochester Institute of Technology, then received a fellowship to study painting and printmaking at the University of Illinois at Urbana-Champaigne. He graduated in 1967. The following year, he received a grant from the Tiffany Foundation to study printmaking in Paris at Atelier 17, an experimental graphic arts workshop founded in 1927.
“What a great experience that was!” he recalled.
Returning home after the Paris uprisings of 1968, he discovered that the magazine covers he’d hoped to paint had largely given way to photography. His agent suggested trying record covers, which he pursued along with illustration and graphic design.
He also began teaching at Kean University in New Jersey.
“Kean had a wonderful graphic design and illustration department. I loved teaching Graphic Design, even though I never thought I would.”
He later taught at Syracuse University and Pennsylvania College of Art and Design.
In the late 1980s, he decided to stop teaching and concentrate on his own art. He moved to Falls Village, to a house on the corner of Minor and Prospect Streets.
“I used to call the studio ‘Minor Prospects Atelier,’” he said.
He continued working in illustration and graphic design, creating book covers for stories by H.P. Lovecraft and other authors, along with magazine covers, logos, advertising and murals.
Justine and Victor Valla in their studio with a painting of Victor’s,”Jonah and the Whale.” Robin Roraback
His local commissions include the green and gold Noble Horizons signage and wall murals for the Stockbridge Inn, the Spa at Norwich Inn, Orchards Hotel in Williamstown and the David M. Hunt Library’s children’s section.
Justine grew up in the Bronx and studied at the Fashion Institute of Technology. After graduating, she took on whatever work she could find, including designing toys and novelty items for Russ Berrie. But her true calling was textile design.
She moved to Los Angeles to pursue that calling, where she learned silkscreen printing from 1960s design icon Corita Kent.
“I was in her program at Immaculate Heart College. All fabric design at that time was silk screen. My first job in textile design was in L.A., creating wallpaper for Bob Mitchell Design.”
Justine returned to New York City, where the advent of computers required her to learn new design techniques. She enrolled at Parsons School of Design, studying Photoshop, Illustrator, Lectra U4ia and Kaledo.
Around this time, she met Victor online and moved to Falls Village.
A recruiter found her a job in Arkansas at Dillard’s, a department store chain operating in 30 states and known for its exclusive designer collections.
“They had the best equipment I’d ever seen,” she said.
She became a senior computer-aided design designer there, designing fabric and preparing purchased designs for production.
The Vallas left Falls Village for Little Rock.
“It was a big move,” she said. “It was a different culture, but Little Rock was very progressive.”
The originally planned to stay in Arkansas for five years but ended up remaining for nearly 10.
Then Justine was hit by a car. She suffered injuries to her leg and head and required four years of rehabilitation.
“I lost the ability to paint after the accident. I struggled to paint again.”
The Vallas returned to Connecticut, this time settling in Salisbury, where they’ve lived since 2013.
After leaving Dillard’s, Justine had planned to sell her work through Printsource in New York City, an international showcase for surface and textile design. But after the accident, she no longer had the mobility or energy to travel back and forth to the city.
Instead, she began selling her work locally at craft shows, including clothing, hand-printed tea towels and floorcloths.
She is currently working on selling her collection of textile designs.
In December, Justine will have a show of her tea-themed watercolors at the NorthEast-Millerton Library.
Victor recently exhibited “The American West: A Pictural History” at the NorthEast-Millerton Library. The series, created in the early 1990s, was part of a commission from the Postal Commemorative Society for which he completed 100 paintings in two years.
He hopes to place the series in a museum and has created books from its images, complete with text. Over the years, he has designed many other books that are ready for publication, including “Looking In, Looking Out,” a cosmic view of the universe.
Reflecting on his career, Victor said, “It’s about doing what you love”.
Justine agreed.
To see, purchase or commission work, contact Justine at justinevalla@gmail.com or Victor at victorvalla@comcast.net, or call 860-596-4282.
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Jane Herold’s beautifully simple dinnerware.
Cornwall ceramicist Jane Herold explained that there’s quite a lot of enthusiasm for Clay Way among the region’s ceramic artists.
“We all need work space, which is hard to find or afford in urban areas. The wood-fire crowd needs lots of wood and outdoor space. This area is great because it’s rural enough for us, but has a wonderfully enthusiastic and supportive population of pottery [patrons].”
While many of the artists are returning from previous years, the loose collection of unofficial organizers likes to keep the event manageable for the public, limiting the number of artists and studios each year. A direct drive from the southernmost point at Ann Heywood’s studio in Wingdale to Herold’s big barn in Cornwall is under 40 minutes. But if you want to catch it all, plan for a full day’s worth of art exploration along some of the most beautiful roads in New England.
Starting at its northernmost point, Herold’s studio will host Matin Malikzada of Afghanistan, whose polished, modern interpretations of traditional forms are instantly recognizable. They’ll be joined by wood-fired ceramicists Steve Johnson, with his raw, organic forms, and Harry Levenstein, whose works relate closely to Johnson’s while making even more direct references to nature.
Herold herself creates work that is both beautiful and utilitarian. Her prolific output of objects is intended to be used by everyday people as part of their daily lives.
Moving south is Todd Piker of Cornwall Bridge Pottery. Piker has been making pots in his giant wood-fired kiln since 1971. The kiln looks more like an ancient blast furnace than something designed to transform clay into ceramics, but over the years, he’s mastered its intricacies and produces an impressive amount of fine work.
A ceramic vase by Kathleen Heidemann.Provided
Piker will host Sanah Peterson, who works at Cornwall Bridge Pottery and draws inspiration from both her time with Piker and her time traveling the globe as a child. They’ll be joined by Stephanie Haines, whose vibrant, eye-catching work features underglaze illustrations of birds, fruit and the bounty of nature.
Further along in Warren, Jessica Dubin’s pieces will be on display at the studio of Christine Owen. Both artists seem to appreciate the chaos and unpredictable nature of clay but find ways to refine it all using their own unique methods.
Heading east to Washington, Conn., Will Talbot’s creates intricate work while allowing for the unpredictable nature of clay to play a role. His studio will house Tom Knox and his wide variety of textures and forms, as well as New York City-based Alex Lebedev, who lets music and the nature of improvisation guide his work.
There will be two studios participating in South Kent. Alison Palmner, whose page on the Clay Way website states she “strives to achieve a lighthearted meld of human forms, animals and the vessel.” Her studio will host Ben Eberle, who trained under the guidance of legendary potter Toshiko Takaezu; James Guggina, whose intricate work can appear both deliberate and whimsical; and Paula Shalan, who blends rough, unrefined surfaces with polished precision in individual pieces.
Joy Brown’s delightful ceramic sculptures.Provided
Nearby is Joy Brown, whose work have become a staple of the area, with her figurative sculptures dotting the Northwest Corner. Brown’s studio will also feature Bonnie Levine, who taps into the beauty of chaos and destruction in her work, and Brendan Moore, whose more utilitarian forms are perfect for everyday use.
Finally, the tour crosses the border into Wingdale, New York, where the studios of Drew Montgomery, Ann Heywood and Amy Brenner will host Jackie Sedlock, Lynn Behrendt,and Kathleen Heidemann.
Brenner creates some of the most colorful and vibrant pieces on the tour, while Behrendt’s work is among the most studied and precise. Heywood creates carefully considered, intuitive forms, while Heidemann moves from simple minimalism to intricate textures. Montgomery and Sedlock both find new ways of playing with traditional forms, producing delightfully distinctive pieces.
To learn more about the artists and download a map of participating studios, visit clayway.net
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