Despite finger numbing cold and a light dusting of snow the night before, on Saturday, Nov. 30, the West Cornwall Holiday Market, held on the lawn of The Wish House, attracted many shoppers.
Ashley Parsons, of “Parsnips Playful Creations” filled her booth with her handmade crocheted and playful teddy bears, dragons, snowflakes, dogs, mushrooms, gnomes, rabbits, and crocheted plants whose leaves, when pulled, became coasters.
Parsons has been making her crafts “since the pandemic.” She just started selling. “It’s a new adventure.” she said.
Lauren Kendrick shared a booth with her mother Treasa Pattison. Lauren said, “I usually paint but have been getting into sewing this year.” She makes “Lauren’s Little Birds” and “teabag” bookmarks made of cloth.
Her mother, Treasa Pattison, who organized the holiday market, had her “Mother Tree Remedies” on sale. Pattison is a medicinal herbalist. Her products “are made from herbs that I either forage for or grow.” Among her products are Sleepy Tea, Poison Ivy Bug Bite cream, Elderberry Elixir, and Arnica Oil.
Michele Paladino of “Lindera,” had wreaths made of grape vine, and decorative arrangements for the holidays. Paladino “Collects native seeds from this region and grows them,” for her products in Falls Village.
Sharing her booth was Helena Barnes, proprietor of Sharon Valley Honey. The honey comes from her own hives. She had three kinds of honey: raw, whipped, and honey butter. She noted “the color of honey is tied to the flowers.” Golden rod, for example, makes darker honey.
At the Birch Lane Rustics’ booth, Matt Wabrek from Canaan, explained how he got started making things. “A cherry tree fell in my yard. I didn’t want to waste the wood.” He milled the wood himself and made a table and charcuterie boards. “I have a welding background and so I could make the legs. I like mixing metal with wood.” He “repurposes and upscales things,” using horseshoes, skis, pickaxes, hoes, hammers, and other old tools in his creations. Birch Lane Rustics will be appearing at craft and artisans fairs in the coming months.
At Lynette’s Precocious Preserves, her helpers, dogs Reese and Rita, wore reindeer antlers and greeted customers. Lynette Hatfield makes the preserves herself in Kent. “Strawgasm,” a mix of strawberry and rhubarb, is a best seller.” She grows her own rhubarb. Other flavors include Black Bear Jam and Mushroom Magic.
Next to Lynette was Pebbles, a French bakery which makes organic and locally sourced baked goods, including scones, Madeleines, tarts, and Coffee Ganache Cake. Owners Ji-Won Lee and Alex Delletery, make all the pastries themselves.
Jewelry maker, Rose Fitch and her twin, Indigo, sat with earrings and necklaces Rose made. Rose explained the jewelry began as her “capstone project at Housatonic Valley Regional High School.” Capstone projects have to show responsibility and problem solving. She moved on to selling her designs.
Ann Gold had a table with homemade jams and hand sewn potholders. All the proceeds from items sold go to the Chapel at All Saints. Jams include Plum Apple, Apple Pie, and Pear Jalapeno.
After the event organizer Treasa Pattison said, “It was a great turnout and a ton of fun!”
Many of the vendors have Instagram or Facebook pages and also sell their goods at local farmer’s markets and at The Local, a new store in West Cornwall that sells products made by local residents.
L. Tomaino
Matt Wabrek of Birch Lane Rustics, with one of his garden sculptures. He repurposes and upscales old horseshoes, skis, hammers, hoes, shovels and other old tools in his sculptures and furniture. His work was on view at the West Cornwall Holiday Market on Nov. 30.
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Falls Village, CT
Saturday November 8 Tag Sale in the Barn: 91 Main Street in Falls Village 10 to 3 pm. Please Park in town parking available along Main St. Tools, wood working tools, bench, furniture, antique doors, out door planters, Halloween and Christmas decorations and much more.
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
