NORFOLK — Tasty food, coffee and a friendly atmosphere are drawing people to the ICBX, a new café offering breakfast and lunch.
The ICBX, so named in honor of Norfolk being known as the Icebox of Connecticut, opened on Monday, Dec. 2, after many delays in the installation of an exhaust system.
“Something you’d think would take two weeks, ends up taking three months,” café co-owner Peter Crippen said. In this case it took much longer than three months, closer to two years. He said the bigger companies kept pushing back the job in favor of bigger jobs. Finally, using local contractors was the key and the work was done more quickly.
Marinelle Crippen, Peter’s wife and partner in the business, works at the counter greeting customers and taking orders while Peter is in the kitchen cooking.
“Things have been going very well,” Peter said. “We get busy, we handle it and learn each day how to refine the flow from everything for customer service to food preparation.” Marinelle agreed, saying, “It’s been fun so far.”
The Crippens are not strangers to working with food. They bring their experience running Rex Café in Hell’s Kitchen in New York City, managing the Mermaid Inn in Chelsea and Red Rooster in Harlem, to the ICBX.
Peter Crippen, owner of the ICBX cafe at Station Place in Norfolk, prepares to cook a made to order omelet. ICBX opened on December 2nd. Peter and his wife Marinelle run the cafe together and offer breakfast and lunch from 7a.m. to 2p.m., everyday except Tuesday. Robin Roraback
In addition, Peter’s mother makes Mrs. Crippen’s Bourbon and Molasses Fruitcake, which is available at ICBX. His sister ran Irving Farm Coffee House in Millerton, New York, for many years. When Peter and son Rex went on a fishing trip recently, his sister filled in at the grill.
“It is amazing how the Breakfast Burritos have gone over.” Peter remarked. He also said that he has brought back something he remembers from childhood: toasted muffins. He said that once customers have a toasted muffin “it is the only way to eat it.”
David Gourley of Norfolk has quickly become a regular customer. He sat at the counter, chatting with Marinelle. “It’s a wonderful meeting place and a welcome addition to our community,” he said. Of his made to order three egg omelet, he said, “The tomatoes are warmed on the grill first. Delicious.”
ICBX offers coffee, tea, biscuit sliders, oatmeal, yogurt and granola. Breakfast sandwiches can be made to order with a choice of sausage, ham, egg, avocado, bacon, tomato and cheese. Breakfast Chorizo Burritos have options of onion, egg and hot sauce. Vegetable Burritos can be made with green peppers, mushrooms, black beans, egg and hot sauce.
A variety of baked goods is also available, including scones, breads and muffins.
Starting Thursday, Jan. 2, the café began offering lunch. The lunch menu contains two sandwiches, soup and salad.
In December they were open every day except Tuesday from 7 a.m. to 1 p.m. and in January extended the hours until 2 p.m. For more information, call (860) 671-0005 or stop by the ICBX at 10 Station Place in Norfolk.
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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
