In just nine years, the Kent Gingerbread Festival in Kent, Conn., has gone from being just fun to being quite a big deal. It’s one of the biggest gingerbread festivals in the region and has become a big draw to town, even in years when there’s a pandemic quarantine. This year, to make it easier to access the houses, the festival organizers used space in a retail area in the center of town owned by Rocco and Candi Valeri, that was converted for the holiday season to Gingerbread Station.
The cookie creations were on display for the month of December. Awards were announced Jan. 1; the judging this year was by state Rep. Maria Horn (D-64) and Jill Owens Zinzi, of Kent Coffee and Chocolate Co., described as “the mother of the Kent Gingerbread Festival herself.”
The grand prize winner this year was Brittany Hrabcsak, who has been an award winner in the festival for several years in a row now (for her first foray into gingerbread decoration she was young enough to qualify for the Youth Award). This year, Hrabcsak created Whoville from Dr. Seuss’ holiday tale, “How the Grinch Stole Christmas.”
Sue Hanneman won second place for her recreation of Rapunzel in her castle tower.
Third place was awarded to the Swyft restaurant team.
The people’s choice award went to Denise Howard, Teddie Miner, Cat Heidel, Karen Heuvel, and Janette Ireland.
“Social Media’s most loved creation” went to Isabel Carrington and Emily Creighton, whose post of their gingerbread Warner Theatre reached 19,200 followers and elicited 3,100 comments.
The Youth Award was won this year by Jordana Berman, Abby Berman and Alexander Berman, who recreated the Kent train station (now home to the Kent Station Pharmacy).
The prize for Most Realistic creation went to Tom Doyle, for building a fully edible cookie version of the exterior AND interior of Foreign Cargo.
Just starting out this year, the Salisbury, Conn., gingerbread festival and holiday decorating competition announced two winners at the end of December. Heidi Hoeller and Wanda Hoeller won the gingerbread contest with their Gingerville Ski Chalet; and the Hussey Family of Lakeville won first place in the Light Up Salisbury contest. Both contests were sponsored by the Salisbury Volunteer Ambulance and Salisbury Recreation.
Isabel Carrington and Emily Creighton not only know how to bake and decorate like pros, they also collected tens of thousands of views on social media for their cookie version of the Warner Theatre in Torrington, Conn. Photo by Melissa Roth Chernisk
Rapunzel and her tower were captured in cookies by Sue Hanneman, whose baking and decorating efforts won her second place in the Kent, Conn., Gingerbread Festival. Photo by Melissa Roth Chernisk
KK Kozik in her studio
It is a particularly fitting philosophy for an artist whose paintings often begin with the world around her but rarely end there. There might be something recognizable — a stone wall, an apple tree, a crow — but then there is something less certain. Something that appears to be one thing becomes another upon inspection. Memory gets involved. So does imagination. So does time.
Since moving from New York City to Sharon, Connecticut in 2006, the landscape around her has become increasingly important to that process.
“I just saw things differently,” Kozik said.
The change was not immediate. She remembers an earlier version of herself driving through Vermont without paying much attention to what was happening beyond the windshield.
“I didn’t have the means to see what was happening around me,” she said. “I just sort of la, la, la, la, la, driving to Vermont.”
But, she said, she started to pay attention differently.
“I became more sensitized as time went on,” she said.
Asked whether that change came with age, she said, “Age and so-called wisdom.”
There’s a sense of loss in her landscapes, but a particular kind of loss that also has a twinge of redemption. Specifically, what happens to a landscape when people leave it?
“When the people go away, the wildlife comes back,” Kozik said.
KK Kozik in her studio with her painting “Golden Delicious.”Natalia Zukerman
Kozik’s work has never settled into a single recognizable formula. She has painted landscapes, figures and still lifes, moved toward abstraction and returned to representation. Her subjects change, but the underlying impulse remains: to take what is in front of her and discover what else there might be.
Kozik describes herself as someone who is always trying to figure things out. Her paintings often have the feeling of a thought in progress rather than a conclusion. They have been called “single-line novellas,” a description that makes sense: They can contain the suggestion of an entire story without telling you exactly what happened.
The animals are part of that storytelling.
They arrived partly because of what was disappearing.
“They were like the new redemption in a way,” she said.
There is something almost funny about the way Kozik talks about this — not because the loss itself is funny, but because she refuses to turn it into a grand pronouncement. She observes something, considers it, and lets it complicate the work.
That same sensibility comes through when she talks about her own development as an artist. Her paintings make room for interpretation. They don’t always tell the viewer what an animal symbolizes, or why a landscape has been altered, or where a particular image came from. Instead, they leave enough evidence to make you curious and enough room for your own stories.
The effect is not accidental. Kozik has spent years thinking about how images work, both as paintings and as containers for ideas.
Her work is currently included in “The Naturalist,” a group exhibition on view through Sept. 13 at Kenise Barnes Fine Art in Kent, alongside Richard Klein, Sally Maca, Rick Shaefer and Tricia Wright. The exhibition brings together artists whose work engages with the natural world, including its forms, histories and mysteries.
Kozik is an especially apt fit for the exhibition. She is described by the gallery as a landscape painter, figurative painter and interiors/still-life painter whose work frequently moves toward painterly abstraction. Her practice, the gallery notes, is “fluid and continuous” — always searching for new pictorial problems to solve.
That search has also extended beyond her own studio.
For several years, Kozik ran ICEHOUSE Project Space, an 18th-century icehouse on Sharon’s town green that she transformed into an unusual venue for contemporary art. It opened in 2018 with Dan Devine’s “Inside-Out NASCAR” and went on to host site-specific projects by artists including Mark Dion, Eric Aho, Janet Biggs, Richard Klein, Kristin Jones, Lisa Hoke and Ryan Frank. The projects addressed everything from the decline of winged insects and native and invasive plants to Sharon’s iron industry, its gardens and its history as an ice-producing community.
The space is now closed, but its premise still feels connected to Kozik’s painting practice. Each project responded in some way to the physical location, turning what might otherwise have been a little historic outbuilding into a setting for contemporary art.
Kozik’s own work does something similar with the landscape. She takes a place and lets it become more than a place.
Kozik’s paintings tell us that something happened before we arrived, and that something will happen after we leave.
And then there is the question of what to do with the space in between.
Maybe Kozik’s paintings are less about that space and more about an idea, as she put it, of “which questions to think about.”
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Jazzmine Bone and A Stitch in Tyme power through the Gambler’s Choice run during the 2024 Lakeville Open.
The event, which has been held continuously for 69 years, is open to the public with free admission.
Individual competitions will run from 8 a.m. to 5 p.m., and visitors can stop by briefly or settle in for the day.
A food truck, bake sale and portable restrooms will be available on-site.
The show is the primary fundraiser for The Lakeville Pony Club, with proceeds supporting young riders who need financial assistance to participate in lessons. Members and their families work throughout the year to create the event for both competitors and spectators.
Members of the Lakeville Pony Club and Echo the pony arrive for the costume class during the Lakeville Open in 2024.Caitlin Von Graf
For those new to horse shows, the day offers a chance to learn more about the sport and understand what happens in the ring. In equitation competitions, judges evaluate the rider’s skill, from beginners learning walk and trot to more advanced riders navigating cantering and jumping courses.
Hunter competitions focus on the horse’s style and smoothness over fences, while jumper classes emphasize accuracy and speed as horses and riders race against the clock without knocking down rails.
The day also includes a crowd favorite: the costume class, where horses and riders dress up in creative ensembles for a chance at the top prize.
Programs will be available onsite to help spectators identify competitors and horses. A full list of competitions, entry information and details for those interested can be found at rigameadow.com
Whether an experienced equestrian or simply curious about the sport, the Lakeville Open Horse Show offers a chance to enjoy a Hudson Valley tradition that continues to bring the community together.
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