The unfolding multiple nuclear reactor catastrophe in Japan is prompting overdue attention to the 104 nuclear plants in the United States — many of them aging, many of them near earthquake faults, some on the West Coast exposed to potential tsunamis.Nuclear power plants boil water to produce steam to turn turbines that generate electricity. Nuclear power’s overly complex fuel cycle begins with uranium mines and ends with deadly radioactive wastes for which there still are no permanent storage facilities to contain them for tens of thousands of years.Atomic power plants generate 20 percent of the nation’s electricity. More than 40 years ago, the industry’s promoter and regulator, the Atomic Energy Commission, estimated that a full nuclear meltdown could contaminate an area “the size of Pennsylvania” and cause massive casualties. You, the taxpayers, have heavily subsidized nuclear power research, development and promotion from day one with tens of billions of dollars.Because of many costs, perils, close calls at various reactors and the partial meltdown at the Three Mile Island plant in Pennsylvania in 1979, there has not been a nuclear power plant built in the United States since 1974.Now the industry is coming back “on your back” claiming it will help reduce global warming from fossil fuel emitted greenhouse gases.Pushed aggressively by President Obama and Energy Secretary Chu, who refuses to meet with longtime nuclear industry critics, here is what “on your back” means:1. Wall Street will not finance new nuclear plants without a 100 percent taxpayer loan guarantee. Too risky. That’s a lot of guarantee given that new nukes cost $12 billion each, assuming no mishaps. Obama and the Congress are OK with that arrangement.2. Nuclear power is uninsurable in the private insurance market — too risky. Under the Price-Anderson Act, taxpayers pay the greatest cost of a meltdown’s devastation.3. Nuclear power plants and transports of radioactive wastes are a national security nightmare for the Department of Homeland Security. Imagine the target that thousands of vulnerable spent fuel rods present for sabotage.4. Guess who pays for whatever final waste repositories are licensed? You the taxpayer and your descendants as far as your gene line persists. Huge decommissioning costs, at the end of a nuclear plant’s existence, come from the ratepayers’ pockets.5. Nuclear plant disasters present impossible evacuation burdens for those living anywhere near a plant, especially if time is short.Imagine evacuating the long-troubled Indian Point plants 26 miles north of New York City. Workers in that region have a hard enough time evacuating their places of employment during 5 p.m. rush hour. That’s one reason Secretary of State Clinton (in her time as senator of New York) and Gov. Andrew Cuomo called for the shutdown of Indian Point. 6. Nuclear power is both uneconomical and unnecessary. It can’t compete against energy conservation, including cogeneration, windpower and ever more efficient, quicker, safer, renewable forms of providing electricity. Amory Lovins argues this point convincingly (see RMI.org). Physicist Lovins asserts that nuclear power “will reduce and retard climate protection.” His reasoning: shifting the tens of billions invested in nuclear power to efficiency and renewables reduce far more carbon per dollar (nirs.org/factsheets/whynewnukesareriskyfcts.pdf). The country should move deliberately to shutdown nuclear plants, starting with the aging and seismically threatened reactors. Peter Bradford, a former Nuclear Regulatory Commission (NRC) commissioner, has also made a compelling case against nuclear power on economic and safety grounds (nirs.org/factsheets/whynewnukesareriskyfcts.pdf).There is far more for ratepayers, taxpayers and families near nuclear plants to find out. Here’s how you can start:1. Demand public hearings in your communities where there is a nuke, sponsored either by your member of Congress or the NRC, to put the facts, risks and evacuation plans on the table. Insist that the critics as well as the proponents testify and cross-examine each other in front of you and the media.2. If you call yourself conservative, ask why nuclear power requires such huge amounts of your tax dollars and guarantees and can’t buy adequate private insurance. If you have a small business that can’t buy insurance because what you do is too risky, you don’t stay in business.3. If you are an environmentalist, ask why nuclear power isn’t required to meet a cost-efficient market test against investments in energy conservation and renewables.4. If you understand traffic congestion, ask for an actual real life evacuation drill for those living and working 10 miles around the plant (some scientists think it should be at least 25 miles) and watch the hemming and hawing from proponents of nuclear power.The people in northern Japan may lose their land, homes, relatives and friends as a result of a dangerous technology designed simply to boil water. There are better ways to generate steam.Like the troubled Japanese nuclear plants, the Indian Point plants and the four plants at San Onofre and Diablo Canyon in southern California rest near earthquake faults. The seismologists concur that there is a 94 percent chance of a big earthquake in California within the next 30 years. Obama, Chu and the powerful nuke industry must not be allowed to force the American people to play Russian roulette.Consumer advocate and former presidential candidate Ralph Nader grew up in Winsted and is a graduate of The Gilbert School.
Latest News
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.
L. Tomaino
“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.
Want more of our stories on Google? Click here to make us a Preferred Source.
Jane Herold’s beautifully simple dinnerware.
Provided
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
Want more of our stories on Google? Click here to make us a Preferred Source.
