SALISBURY — Live music, lobster rolls, face painting and a mix of local nonprofit organizations filled Academy Street in downtown Salisbury on Saturday, Aug. 8, for the fifth annual street fair hosted by The Lakeville Journal.
The decision to highlight nonprofit organizations is one that Lakeville Journal Publisher James Clark feels strongly about.
“Part of what makes this region so special is the number of people who give so freely of their time and resources,” Clark said. “As a nonprofit ourselves, we know that work isn’t always visible, and the Street Fair gives us a chance to celebrate the work these organizations are doing and the people behind them.”
Audrey Cole of the Western Connecticut Area Agency on Aging (WCAAA) was on site with information on the often-bewildering subject of Medicare.
Cole, who lives in Sharon, said the WCAAA is a nonprofit serving 41 towns in Western Connecticut with Medicare counseling, Alzheimer’s care, caregiver support , meals, transportation, chore assistance and more.
Medicare is always a hot topic, she said, in part because figuring out which program to choose — and when to sign up — can be difficult.
“There are lots of deadlines, lots of programs,” she said.
The advantage in asking WCAAA for help, Cole said, is its independence.
“We work for the taxpayers. We don’t steer anyone in any direction.”
In the parking lot of Johnnycake Books, Linda Ciano, director of community engagement for Project SAGE, greeted visitors beneath a large tent.
The Lakeville-based nonprofit domestic violence prevention agency has two fundraisers currently underway.
“The Bling’s the Thing” offers jewelry donated by supporters at bargain prices, while a five-dollar bill gets shoppers an extra sturdy, large blue Project SAGE tote bag.
Project SAGE is also sponsoring a community art project and inviting anyone to participate — no artistic skills required. The results will be displayed at an event at the Scoville Memorial Library on Sunday, Sept. 13.
At the Salisbury Association, Lou Bucceri discussed a range of local history, from Salisbury’s iron industry and the role of its cannons in the American Revolution to the Holley knife collection and Ethan Allen’s insistence on being inoculated against smallpox by his friend Dr. Thomas Young of Amenia Union.
The idea of deliberately injecting a healthy person with a small amount of a disease was very new and, to many, seemed unwise if not downright evil. Allen got his smallpox inoculation on the steps on the Congregational Church on a Sunday, for maximum publicity.
“And he was hauled into court ona charge of blasphemy,” Bucceri said.
Allen subsequently beat the charge.
During the fair, musician and educator Danny Tieger set the tone in front of a crowd of youngsters eager to hear live music. He asked them to brainstorm about what kind of animal they’d like to hear a song about.
The children came up with a combination of a lion, a bird and an alligator.
Tieger immediately launched into a song, made up on the spot.
“What’s our alligator-bird-lion’s name?” he asked.
“Chomps,” said a little boy.
“Chomps it is,” Tieger replied.
Around 1 p.m. John Keilty of Litchfield took over the live music duties. He set up a Bo Diddley beat on one note, turning it into a repeating motif recorded electronically. He then soloed over it, soaring off in unexpected directions before bringing it back to the riff.
Keilty’s primary job is running a guitar repair business. He plays in a couple of bands, including Shake the Dust out of Litchfield.
21st Century Fund for HVRHS
Berkshire Taconic
Community Foundation
Community Health & Wellness
Congregational Church of Salisbury, UCC
Crescendo
East Mountain House
Habitat for Humanity of Northwest Connecticut
Housatonic Child Care Center
Noble Horizons
Northwell Health
Project SAGE
Salisbury Affordable Housing Commission
Salisbury Forum
Salisbury Housing Committee
Salisbury Housing Trust
The Corner Food Pantry
The Lakeville Journal and The Millerton News
The Salisbury Association
The
Western CT Area Agency on Aging
Aly Morrissey
Children show off their balloon unicorns.
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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