NORTH CANAAN — By producing 2 billion disposable plastic syringes a year, BD’s (Becton Dickinson and Company) North Canaan plant has the potential to touch a quarter of the world’s population.
“And that’s just out of this one factory alone,” said Dustin Andersen, plant director of the 400,000-square-foot manufacturing plant on Grace Way off rural Route 63.
“I tell all the new hires when they come in, we make 6 million syringes a day, which means every person in the state of Connecticut could come into this factory, we could give them a syringe every day, and still have millions left over to distribute,” noted Andersen, who oversees operations at the 60-year-old facility, which spans 10 acres under one roof.
“When you’re working for a company that has that kind of impact, it really stands for something.”
BD is one of a handful of manufacturers in the state’s bucolic Northwest Corner making a significant impact locally and globally by stimulating the economy, providing jobs for the community, launching innovative technology and embracing renewable resources.
In addition to BD, a handful of other major manufacturers in the Northwest Corner with a global scope include:
— The Lakeville-based ITW (Illinois Tool Works) Seats & Motion Division within the ITW Automotive Segment, which molds and assembles 45 million headrest guides per year for Ford and Toyota vehicles throughout North America and Venezuela.
— CowPots, one of three businesses owned and operated by the multigenerational Freund family farm in East Canaan, where tens of millions of eco-friendly flowerpots made from composted manure have been manufactured over the past 27 years using the longest continuously operating methane digester in the country.
— Hutzler Manufacturing, a four-generation family-owned and -operated business in North Canaan that has been designing and producing housewares since 1938, including innovative utensils for several popular fast-food giants.
“Rural manufacturers are a critical piece of Connecticut’s overall economy and their products impact lives around the world,” said Chris DiPentima, resident and CEO of the Connecticut Business and Industry Association (CBIA).
They are also “critical to local economic development, supporting and revitalizing local communities not only through the hundreds of millions in state and local taxes that they pay, but also because they create five additional jobs in other parts of the state’s economy for every one manufacturing job, and generate $2.60 in additional economic activity for every $1 spent in manufacturing.”
Those are huge multipliers, said DiPentima, “equivalent to what Silicon Valley experienced with the tech-sector boom — and high wage careers with the average Connecticut manufacturing salary at $92,633, 36% higher than the national average and 14% more than the state’s average salary.”
Courtesy of BD
Dustin Andersen is the plant director at BD Canaan, which is the largest employer in the Northwest Corner, with more than 400 employees.
Innovation transformed BD
The first wave of disposable plastic syringes were manufactured out of BD’s North Canaan facility in 1961 in its original 25,000-square-foot-building, manned by eight associates. The innovation soon transformed BD by replacing traditional glass syringes to ensure more sterile conditions.
“The PlastiPak syringe was really what put us on the map,” said Andersen.
One year later, BD purchased a 77-acre tract of land and broke ground for the construction of a 55,000-square-foot state-of-the-art plant, and since then, has expanded the North Canaan facility eight times, for a total of 360,000 square feet.
Until you’ve toured the plant, it’s difficult to comprehend the scale of the operation.
The operation is a vital facility for the BD Medical -Medical Surgical Systems unit of its parent, Becton Dickinson and Company, which was founded in 1897 and is headquartered in Franklin Lakes, New Jersey.
About 400 employees work at the North Canaan facility, making it the largest employer and taxpayer in the Northwest Corner.
“Everybody around here knows somebody who is working at BD,” Andersen explained.
Jeanine Hodgekiss, BD’s customer complaint and validation quality manager and a second-generation associate, noted that the “quality” within the facility extends far beyond the products produced.
“I’ve been at BD for 34 years, and my dad worked there over 30 years,” said Hodgekiss “When people think of quality, they think of the product. But BD also provides the quality of life.”
Steve Furth is the plant manager at ITW Seats & Motion Division in Lakeville, which manufactures automobile headrest guides for Ford and Toyota. Debra A. Aleksinas
Building a ‘model factory’ in Lakeville
The odds are that anyone who owns a Toyota Tacoma pickup truck is driving around with a plastic component tucked into the vehicle’s headrest that was molded by ITW’s Seats & Motion Division in Lakeville. Ditto for Ford vehicles on the road today.
The global operation takes place in a commercial building adjacent to the Lakeville Hose Company, where plastic headrest guides, a key safety component in automobiles, are produced by 38 molding and 15 assembly machines in the 20,000-square-foot plant.
“We make them for 98% of the Fords that are built in North America,” said Steve Furth, the operation’s plant manager, during a recent tour of the totally automated facility.
“Toyota is getting close to Ford” in terms of production, said Furth as he pointed out the five molding machines and three assembly machines pumping out and assembling headrest guides for Tacoma vehicles. “We ship 100,000 parts a week.”
As he spoke, the machines whirred as they completed various steps of the process, work that up until about three years ago, was done primarily through manual labor.
To keep up with the volume, for several years, ITW rented warehouse space in Millerton, New York, for storage, packing and shipping. Now, the entire process takes place in Lakeville.
“Three years ago, the company decided it was time to do what we call ‘model factory,’” said Furth, which improved efficiency through automation but resulted in the closing of the Millerton site and downsizing the workforce from 50 to about 35.
“It did take some jobs away, but it improved our efficiency tenfold. We now produce about 45 million parts per year.”
Furth, who has been employed by ITW for 15 years, marveled that even though ITW global has 35 locations worldwide with an estimated 28,000 employees, that a modest plant in rural Lakeville is part of that world-wide success.
“How this little factory got started in this area up here, nobody knows, but here we are.
”‘Dirty Jobs,’ the pandemic, fueled CowPots
Tucked away on a winding dirt road behind the Freund family farm’s dairy operation and farm market and bakery, is a manufacturing plant that molds eco-friendly flowerpots made from composted manure.
On a recent visit to the operation, Amanda Freund, third generation of the family farm, manages the CowPots operation with her father, Matt Freund. The second-generation Freund, with help from a friend with an engineering background, designed the technology used to mold dried manure into flower pots as an alternative to peat pots, which take longer to biodegrade.
Diversification, said Amanda Freund, was a saving grace when the pandemic hit in 2020. The family’s 300-cow dairy operation was in ”crisis mode,” she recalled, as demand for milk dried up when schools, restaurants and other customers closed shop.
But at the same time, “everyone was home, and gardening blew up,” and demand for CowPots skyrocketed.
In 2007, CowPots gained “incredible national exposure” when it was featured not only on “Larry King Live,” but also in a segment of “Dirty Jobs” with Mike Rowe.
“It was incredible national exposure, with reruns in 125 countries to this day, which I can always track by the spike in visits to my website,” Freund noted.
The CowPots operation maintains a health permit with the USDA to be able to export product to the European Union, and Freund said she is two to three years into a discussion with a company in Australia “that has begun the process of licensing our technology and some form of royalties.”
“With 500 million tons of plastic per year produced from the horticultural industry,” she said, “we’re pushing to be part of the solution.”
An engineering breakthrough
Also on Grace Way in North Canaan, across from BD, is the Hutzler Manufacturing Company Inc., a four-generation, family-owned and -operated manufacturer and worldwide distributor of high-quality housewares since 1938.
According to the company’s website, in the 1970s, Hutzler made the engineering breakthrough that fiberglass can give additional strength that was lacking from traditional nylon. They used this knowledge to produce fiberglas-reinforced nylon utensils, “which are still used today by McDonalds, Burger King and Pizza Hut.”
Company officials did not respond to requests for comment.
Transportation challenges and solutions
While the sight and sounds of big rigs rumbling around the Northwest Corner may annoy some, transportation costs can be expensive and compounded in rural areas where trucks need to make special trips, said Cow-Pots’ Freund.
“There is great value to us, being a small manufacturer in the community, and having the larger companies like BD make a lot of shipping trips, with the trucks coming and going,” she explained. As transportation frequency increases in the area, said Freund, it helps to lower her transportation costs.
CBIA’s DiPentima noted that rural manufacturers struggle with employees’ transportation needs.
“One thing we have heard from the rural manufacturers is that there is not much of it for their employees, especially for what is referred to as the ‘last mile,’ meaning employees can get to a train or bus hub but have challenges getting to their workplace from there.”
Transportation along with housing, child care and cost of health insurance are top issues that CBIA hears from businesses and are at the center of its 2024 legislative policy solutions, said DiPentima.
This article has been updated to reflect the correct name of the PlastiPak syringe and the location of Franklin Lakes, New Jersey.
Church’s status as an early environmentalist was mentioned repeatedly during the conversation. Shin’s sculpture “Fallen,” which graced the lawn next to the estate’s main house during last year’s event, featured a fallen hemlock tree trunk planted by Church over 150 years earlier which had been wrapped in tanned leather. She described the work as a direct reference to Church’s experience witnessing the eradication of the area’s hemlocks as the leather tanning industry wreaked havoc on the natural environment of the Hudson Valley in the mid-19th century.
The relationship between art and the environment wasn’t isolated at Church’s former home. Instead, it seemed to be found all over UAW.
Now in its seventh year, UAW works to take the art world out of the city. At its best, the weekend gives artists and curators the opportunity to interact with unfamiliar environments. Just as often, however, it serves as a literal escape, allowing New York City galleries to bring works to pop-up spaces assembled for the express purpose of displaying fine art. The “Loading…” group show in Hudson did just this.
Transplanting six New York City galleries into an intimate event space, “Loading…” featured a wide variety of artists from around the globe. Sheroanawe Hakihiiwe, an Indigenous artist from Venezuela, takes ancient practices and translates his observations of the Amazon into minimalist works. Michael Assif’s “Plant a Weed” highlights the human impact on a natural landscape while feeling like a marshmallow dream. And Margaret Curtis’ “ ‘S ” uses the backdrop of a Hudson River School-style sunset to highlight the chaos of today’s state of the American dream.
The flip side of this art-world field trip is the variety of makeshift galleries in the garages and barns of the Hudson Valley. Places like Ugly Mud Studios and Ten Barn Farm, both in Ghent, along with Foxtrot Farm and Flowers in Stanfordville, housed unexpectedly refined exhibitions. These venues all integrate sustainable practices into their business: Foxtrot is a regenerative flower farm, Ugly Mud uses locally sourced clay, and Ten Barn Farm operates a farm-to-table restaurant called The Kitchen.
But at the end of the day, UAW is about getting the art world into the wild. So it was no surprise to see a panoply of eye-catching outfits, and out-of-this-world works at Art Omi, the sculpture and architecture park in Ghent, on Saturday evening. Complete with avant-garde ambient operatic metal, the Summer Kickoff event served as a testament to the continued growth of UAW. It seems the seeds that Toomer and her collaborators planted seven years ago are flourishing, with no signs of slowing down.
Andrew Ingall
Artist Christy Gast with her sculptures at Friday Arts in Amenia.
Benjamin Reynaert
His career began at Martha Stewart Living. A contributor to Architectural Digest, Elle Decor, House Beautiful and Veranda, Reynaert has also served as style director at Domino. He has worked with Farrow & Ball, Chairish, Neiman Marcus, Sunbrella, Anthropologie, Gap, Bunny Williams Home and Stella Artois. He shares his work on Instagram via @aspoonfulofbenjamin.
“I’ve been fortunate to travel the country and abroad for Elle Decor, covering design fairs and trade shows like Deco Off in Paris, London Design Week in England, Cersaie Tile Show in Bologna, Italy, High Point in North Carolina and the Kitchen and Bath Industry Show in Las Vegas,” he said. He is drawn to unique objects and textiles. “As a market editor, the pieces that stick with me are not the newest. They are the ones I stumble upon and imagine living with.”
Reynaert is also co-founder of Ticking Tent with Christina Juarez, president of Christina Juarez & Company. The biannual event has become a destination for collectors and designers seeking curated antiques and design objects.
“I met Ben about 15 years ago when he was a young editor and design communications strategist,” Juarez said. “We immediately clicked. I was impressed by his multidisciplinary creative talents — styling, writing, vision and impeccable eye — and his passion for the thrill of the hunt. I could not ask for a better partner and friend — my brother from another mother — and a yin to my yang. Two creatively minded people with a love of old and new beautiful things, and the ability to curate what the luxury shopper doesn’t know they need and most definitely wants.”
Reynaert described the most recent Ticking Tent as the largest yet. “We hosted over 2,000 guests and transacted our most sales to date with 75 vendors,” he said. “The most exciting part is seeing friends and watching new connections being made. I’m excited for the next event, Nov. 13–14, in Bedford, N.Y.”
Butter Wakefield’s kitchen from“The Layered Home” by Benjamin Reynaert.Manuel Rodriguez
For Reynaert, objects are defined as much by narrative as by design. “An object is about the story — whether it’s passed down in your family, something you worked hard for, bought on a trip, or a friend gave you,” he said. “With that added narrative, it doesn’t need to be the most aesthetically pleasing thing. The memory attached makes it beautiful. I like the idea of simple, seemingly insignificant items having a ton of meaning. Treat a thrift store painting as you would a Picasso.”
Greg Domres and Peter Nichols’ residence in Litchfield, which they share with their miniature schnauzer, Bunny, is one of 15 homes featured in Reynaert’s book, “The Layered Home.” The couple hosted a book signing at George Home in Washington Depot. “I first met Ben at press events during my time at John Derian,” Domres said. “We became friends and stayed connected professionally over the years.”
The book spans interiors from Eric Goujou’s shop The Wolf Tile in Paris’ 5th arrondissement to textile designer Schuyler Samperton’s Litchfield farmhouse. “Sharing the stories of talented, stylish people I’ve met during my tenure in magazines has been a privilege,” Reynaert said. “The most inspiring interiors are layered — with personality, patina and the poetry of a life lived. This book is my love letter to that idea.”
Reynaert said he would like to travel to Japan and Australia and hopes to develop his own product line in the future. “Balancing work and life is a challenge,” he said. He spends downtime with his husband, Luis Illades, in Delaware, where they are renovating a Victorian home.
“I feel incredibly fortunate to blend my work and my life in the home I share,” he said. “Creating a home is, at its core, an act of love.”
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Mickalene Thomas and Delano Dunn at Wassaic Project.
Thomas, an artist whose multidisciplinary practice spans painting, collage and installation, first met Dunn when she was his graduate adviser at the School of Visual Arts. “I think your work needs to be out there more,” she said, noting the urgency of this collection in the current socio-political moment.
Dunn’s layered collages often begin with an image unearthed from flea markets, used bookstores and forgotten archives.
“I go to secondhand shops, old bookstores, any place that looks like it has history in it,” he said.
Sometimes, he explained, an image becomes the centerpiece of a work. Other times it simply sparks an idea.
“There’ll be an idea that pops into my head. I’ll read something or hear music or a lyric, and then I’ll think, ‘I’ve got to find an image that matches that.’”
His color palette also carries its own history.
“I grew up in L.A. during the L.A. riots,” Dunn said. “I would sit on my porch as a kid. I was watching the neighborhood burn, but the sky was beautiful.”
He still paints with those saturated blues, reds and oranges.
“Color can transport you. Color can make you feel safe, or happy or scared,” he said. “Those colors made me feel safe.”
For Dunn, Troutbeck’s own layered history became an active part of the work. Learning that the estate had hosted W.E.B. Du Bois, Langston Hughes, Ida B. Wells and generations of civil rights leaders informed his direction.
Dunn was given access to Troutbeck’s archives and found handwritten notes by Langston Hughes, and writings by Du Bois and Wells that found their way into the exhibition.
“There was a letter between Amy Spingarn and Martin Luther King Jr.,” Dunn recalled. “To be in its presence and hold it... you don’t see communication like that every day.”
Delano Dunn’s “Echoes in the Margin” at Troutbeck.Natalia Zukerman
Much of Dunn’s work invites viewers to dig deeper into history rather than accept simplified narratives.
“I want them to look at it and go, ‘Wow, this is really amazing and interesting and colorful and beautiful,’” he said. “And then I want them to be terrified shortly after that.” He accomplishes this through bold, colorful, and often playful compositions that draw the viewer in before revealing their more complex historical underpinnings. As Thomas wrote, “Dunn’s compositions invite viewers to sit within that tension and take it in.” That impulse toward deeper investigation extends to Dunn’s own children, who are often his first audience.
“They’ll ask, ‘What is this? Why does this person look the way they look? Why are you using that color? Why are you using glitter?’”
Those conversations, he said, become lessons in looking beyond appearances.
Thomas framed collage itself as a kind of storytelling practice —“the gathering of information… piecing things together”—and praised Dunn’s ability to translate research, memory and visual pleasure into a unified language. She also underscored the importance of creative joy in the process. “If you’re going to your studio and you’re not having fun,” she said, “you shouldn’t be doing it.”
Dunn said one of the biggest misconceptions he hopes to challenge is the idea that there is a monolithic Black experience.
“There are so many different perspectives out there. This is just one of them,” he said. In the same breath, Dunn said he adopts the label “Black artist” because “it would make my Grandpa proud.”
The nearly two-hour conversation shifted seamlessly between humor and history, studio practice and social commentary, ultimately returning to what both artists believe art can accomplish: encouraging curiosity, complicating familiar stories and inviting viewers to question what they see.
As Dunn put it, “History is so much more nuanced than what we’re taught. There’s so much more going on below the surface.”
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