Sharon Hospital surgeon heads to world squash championships

Dr. Marty Clark, right, practices squash with training partner Sandeep Ramachandran in The Hotchkiss School’s athletic center.
Copey Rollins

Dr. Marty Clark, right, practices squash with training partner Sandeep Ramachandran in The Hotchkiss School’s athletic center.
SHARON — On a warm Wednesday afternoon, Dr. Marty Clark, an orthopedic surgeon living in Sharon, moves thoughtfully and carefully as he hits a calculated forehand to win a rally.
Clark was playing a friendly yet competitive squash match against his friend and training partner, Sandeep Ramachandran, a professional squash player from India, when he caught up with The Lakeville Journal. Clark is preparing for his biggest squash match in almost 30 years: World Masters Championships in Amsterdam, where he hopes to place first in his age group (50 and up).
Clark has played squash since the age of nine. His mother was a squash player, and he fell in love with the sport early.
“I was the top junior player in the United States,” he said. “And when I went to Harvard I was always one of the top inter collegiate squash players.”
He got second place in the Intercollegiate Championships his senior year, and then, upon graduation, he decided to go pro.
Clark’s first pro season started off slowly; playing on the professional tour had a learning curve. By his second season he had won the National Championship. Realizing his potential to really climb the ranks as a pro squash player, Clark chose to defer from medical school for a year to continue the tour.
During medical school at Columbia, Clark continued to compete in many big tournaments like the Pan-American games and the USA National Championships — which he won three out of the four years he was in medical school.
At age 28, Clark decided to hang up his racket and focus on being a doctor, a job that he sees as service. “I stopped playing squash when I was still very good at squash,” he said. “I have always said to myself I can get top 20 in the world or top 30 but I wanted to be a doctor and serve people in my community.”
More than 20 years later Clark has a thriving practice at Sharon Hospital and four daughters, two of whom are very invested in squash. It was those girls, 14-year-old Pippa and 11-year-old Astrid, who inspired him to start training again.
Clark said, “I train a lot with them and something just told me that I had some unfinished business left on the court.”
Starting off his new squash career at the U.S. National Championships in Philadelphia this April, Clark realized that he was “tons slower,” so he has had to learn to “be much more strategic, tactical, and hit the ball into the front court in order to win rallies faster.” Nevertheless, he was able to place second after losing a tight final to an old colleague and competitor.
To help him with his training, Clark is being coached by many people whose experience he values. Alexia Clonda, a squash coach at Vassar and once a World Junior Squash Champion herself has helped Clark with the mental side of the sport along with some strategy. Bobby Burns and Sandeep Ramachandran from The Hotchkiss School’s squash program have both helped train him. Along with this extremely qualified group, his two daughters Astrid and Pippa have “flipped the script” and helped give their father coaching advice just as he gives them.
One of the driving forces behind his desire to compete in the world championship is Clark’s work as an orthopedic surgeon. Clark said that he often tells patients to try and be active, and he feels “more authentic now that I am doing more,” he said. He might tell patients, “I’m 52 and you are only 42, so I know you can do this. I know you can fight to be in shape and be a more healthy version of yourself.”
In the months following the national championship, Clark geared up for Amsterdam by competing in two big tournaments: one in New York City and one in Columbia, Maryland. He realized that exhaustion has played a big role in the results of those tournaments.
“It’s hard balancing four kids and operating on people, especially when I’m operating the night before a tournament.”
The Masters World Championships are held in Amsterdam every two years, and the age groups are divided at five year intervals. Clark will be competing from Aug. 15 to 22 in the 50-and-up age group and he will be seeded somewhere between 17th and 32nd.
For this tournament, his daughter Pippa will be taking on the coaching role. Clark is aiming to take home the trophy. “My goal is to win the tournament,” said Clark. “I wouldn’t have wanted to train without thinking that that was a possibility.”
Laurie Fendrich and Peter Plagens at home in front of one of Plagens’s paintings.
He taught me jazz, I taught him Mozart.
Laurie Fendrich
For more than four decades, artists Laurie Fendrich and Peter Plagens have built a life together sustained by a shared devotion to painting, writing, teaching, looking, and endless talking about art, about culture, about the world. Their story began in a critique room.
“I came to the Art Institute of Chicago as a visiting instructor doing critiques when Laurie was an MFA candidate,” Plagens recalled.
“He was doing critiques with everyone,” Fendrich said of Plagens. “We met at one of those sessions and, well, what can I say. We fell in love instantly.”
Fendrich speaks candidly about the pressures that shaped her early life choices. “We both married the first time at 21, which a good number of women of my generation did without much thought.” Her first husband was a good guy, she says, but “we weren’t suited for each other at all, even though he suited my parents perfectly.” Her decision to get a divorce was seismic. “My mother didn’t speak to me for a year.” Time softened the rupture. “One day she told me, ‘I see now why you left.’”
Fendrich had a rigorous liberal arts education at Mount Holyoke. “I studied painting and drawing, but I also got interested in political philosophy. Plato, Aristotle, Machiavelli — Rousseau was my big guy — Tocqueville, everybody. And I still read them.” Plagens’s path was less formal. “I went to USC at 17,” he said, “and declared English as my major. It was a frat school, and I was in one for the first two years. Then I started doing the cartoons for the Daily Trojan, took a couple art classes, and thought, ‘Wait a minute, I like this.’”
Culturally, they diverged just as sharply. “I came from a fairly puritanical family that didn’t even go to the movies,” Fendrich said. Plagens, by contrast, grew up immersed in pop culture. “My father was an omnivorous reader,” he said, “and a jazz fan, and he shared these passions with me.” In 1966, Plagens walked into Artforum’s LA office and said, “I want to write reviews.” He was paid five dollars per piece. “Gasoline was 23 cents a gallon, so it went a long way.”
Over time, the couple slowly fused their educations. “He taught me jazz, I taught him Mozart,” Fendrich said with a laugh. “I’ve had a movie education from him; he read Jane Austen because of me.”

During their early years in LA, Plagens taught at USC, and Fendrich at Art Center College of Design. In 1985, they decided “our kind of abstraction would do better in New York,” as Fendrich put it. “So, we up and moved to Tribeca with $10,000 and a toddler.”
Both artists grounded their artistic careers in teaching and writing. “Teaching, which I loved, gave me the financial stability to be an artist,” Fendrich said, reflecting on her 27 years as a professor at Hofstra. “It meant that being an artist didn’t require I make money from every show. I didn’t start writing until 1999, but though I write for publication frequently, I make hardly any money at it.”
Artistically, they guard each other’s independence. “We have unspoken rules,” Plagens said. “You don’t comment on someone’s work while they’re in the middle of creating it.” Critique comes by invitation only. “He’s not mean, just direct,” said Fendrich. Over time, their aesthetics have subtly converged. “My work has gotten cleaner from looking at his,” she said. “He’s gotten more colorful because of me.”
The two have had several two-person exhibitions. At a recent duo show at the Texas Gallery in Houston “Laurie’s paintings flew off the wall,” Plagens recalled. “Me, well, not so much.”
Plagens’s parallel career in journalism shaped their lives in tangible ways. He worked as art critic at Newsweek from 1989 until 2003 and currently contributes reviews of museum exhibitions to The Wall Street Journal. “Being at Newsweek was one of the luckiest breaks I ever had,” he said. “They paid me to see things I would gladly pay to see.”
Their creative processes mirror their personalities. “I start with a specific idea,” Fendrich said, “and then modify things as I paint.” Plagens laughed. “I start with complete mush, just blurting it out and spending the rest of the time fixing it.”
In 2019, they made what Fendrich calls “a decision of contraction.” They left the TriBeCa loft they had lived in for three decades, sold their Catskills home with its large studio, and moved full-time to a former auto repair shop in Lakeville, now a house where each has a studio, and the ground floor retains the open feel of a loft.
What sustains them in life, art and love, decades in, are endless conversations — and arguments — about art, history, exhibitions, books and movies. That exchange, ongoing and rigorous, may just be the masterpiece of their shared life.
Hyalite Builders is leading the structural rehabilitation of The Stissing Center in Pine Plains.
For homeowners overwhelmed by juggling designers, architects and contractors, a new Salisbury-based collaboration is offering a one-team approach from concept to construction. Casa Marcelo Interior Design Studio, based in Salisbury, has joined forces with Charles Matz Architect, led by Charles Matz, AIA RIBA, and Hyalite Builders, led by Matt Soleau. The alliance introduces an integrated design-build model that aims to streamline the sometimes-fragmented process of home renovation and new construction.
“The whole thing is based on integrated services,” said Marcelo, founder of Casa Marcelo. “Normally when clients come to us, they are coming to us for design. But there’s also some architecture and construction that needs to happen eventually. So, I thought, why don’t we just partner with people that we know we can work well with together?”
Traditionally, homeowners hire designers, architects and contractors separately, a process that can lead to miscommunication, budget overruns and design revisions once construction begins. The new partnership seeks to address those challenges by creating a unified team that collaborates from the earliest planning stages through project completion.
“We can explore possibilities,” Marcelo said. “Let’s say the client is not sure which direction they want to go. They can nip that in the bud early on — instead of having three separate meetings with three separate people, you’re having one collaborative meeting.”
The partnership also reflects an expanded view of design, moving beyond surface aesthetics to include structural, environmental and performance considerations. Marcelo said her earlier work in New York City shaped that perspective.
“I had a 10-year career in New York City designing townhouses and penthouses, thinking about everything holistically,” she said. “When I got here and started my own business, I felt like I was being pigeonholed into only the decorative part of design. With the weight of an architect on our team now, it has really helped us close those deals with full home renovations, ground up builds and additions.”
The team emphasizes what it describes as high-performance design, incorporating modern building science, energy efficiency and improved air quality alongside aesthetic goals.
“If you’re still living inside 40-year-old technology and building techniques, we haven’t really handed off the best product we could,” said Soleau. “The goal is to not only to reach that level of aesthetic design but to improve the envelope, improve the living environment within a home and bring homes up to elevated standards of high-performance building.”
This integrated approach has proven particularly useful for renovation projects, where modern materials and systems can be thoughtfully incorporated into older structures. The firms also prioritize durability and long-term functionality, often incorporating antiques, vintage elements and high-quality materials designed to support clients’ lifestyles.
“I’m very big on investing in pieces that are going to be quality and last you the test of time,” Marcelo said. “Not just designing for a five- to 10-year run, but really designing for the long haul.”
The collaboration is already underway on several projects, including a major renovation in Sharon that involves rebuilding a 1990s modular home to maximize views while upgrading structural and performance systems. The firms are also exploring advanced visualization technology that would allow clients to experience projects through virtual reality before construction begins.
“For me, as somebody who wants to take the project all the way from beginning to end and make the process as effortless as possible for my client, it’s easier to do that with collaboration and a team than to do it alone,” Soleau said. “Most clients, especially second-home owners, want a team that can lead the project from concept through completion; aligning design, budget, and construction.”
On Feb. 19, the three firms will officially launch the initiative at an invitation-only event at The Stissing Center in Pine Plains, where Hyalite Builders is leading the structural rehabilitation of the historic building. A limited number of “hard hat tour” reservations will be available by request, providing rare, behind-the-scenes access while work is actively underway. Those interested in attending may contact event organizer Lauren Fritscher of Berkshire Muse at hello@berkshiremuse.com.
Autumn Knight will perform as part of PS21’s “The Dark.”
This February, PS21: Center for Contemporary Performance in Chatham, New York, will transform the depths of midwinter into a radiant week of cutting-edge art, music, dance, theater and performance with its inaugural winter festival, The Dark. Running Feb. 16–22, the ambitious festival features more than 60 international artists and over 80 performances, making it one of the most expansive cultural events in the region.
Curated to explore winter as a season of extremes — community and solitude, fire and ice, darkness and light — The Dark will take place not only at PS21’s sprawling campus in Chatham, but in theaters, restaurants, libraries, saunas and outdoor spaces across Columbia County. Attendees can warm up between performances with complimentary sauna sessions, glide across a seasonal ice-skating rink or gather around nightly bonfires, making the festival as much a social winter experience as an artistic one.
The Dark’s lineup includes several world and U.S. premieres. Highlights include Thomas Feng performing “Night Prayers,” a program of compositions by late Ethiopian composer and Orthodox nun Emahoy Tsegué-Maryam Guèbrou; Phil Kline’s outdoor participatory score “Force of Nature (February);” an audiovisual collaboration between composer David Lang and Academy Award-nominated filmmaker Bill Morrison; an interdisciplinary performance by Lee Ranaldo of Sonic Youth and multimedia artist Leah Singer; and “We Survived the Night: A Coyote Story in Four Parts” by Julian Brave NoiseCat.
For more information about The Dark or to purchase tickets, visit ps21chatham.org/the-dark