From left, Rotarians Randy Chapell, director; Bill Spalding, president; Bill Pond, president nominee; Duane Estes, member and Jerry Baldwin, Paul Harris Fellow, gathered following the April 9 meeting of the Salisbury Rotary Club, which is celebrating its 75th Anniversary this year.
SALISBURY — Chartered on Jan. 25, 1949, the Rotary Club of Salisbury is celebrating 75 years of service to the community, a milestone which will be capped by a gala anniversary celebration in the fall and numerous activities throughout 2024.
“We have so much on our plate over the next two to three months, all are exciting, and all are necessary,” club president Bill Spalding told the dozen or so members during the group’s weekly meeting at Noble Horizons on Tuesday, April 9.
“Every event we do will be loaded with Rotarians,” Spalding announced.
The small but dedicated club of about 35 members, which meets at the Noble Horizons Community Room every Tuesday at noon, serves not only Salisbury, but also Falls Village, Canaan, Sharon and Cornwall.
Since its inception, the local club, which is part of Rotary District 7890 comprising 55 clubs in northern Connecticut and western Massachusetts, has sponsored or generously supported a wide range of local and international projects.
Locally, Salisbury Rotary Club has awarded annual scholarships to deserving high school students, and volunteers have rolled up their sleeves to assist local nonprofits, including Chore Services, Salisbury Association, the Canaan Child Care Center and local food banks, among other nonprofits. Members have also supported and participated in myriad community events and activities, including fairs, festivals and parades.
Internationally, Salisbury Rotary, which has a personal connection to Tulum Rotary in Mexico, has helped that club with funding water fountains and computers for schools, assisted with water-related projects in Ecuador and has backed the international effort to eradicate polio worldwide.
“Our biggest shining star is what we’re doing to eradicate polio,” said club director Randy Chapell who with his wife, Fran, also a Rotarian and executive director of the Canaan Child Care Center, have traveled internationally on behalf of the Salisbury club.
He noted that Rotary International, along with its partners, have helped immunize more than 2.5 billion children against polio in 122 countries, reducing polio cases by 99.9 percent worldwide.
“We’re down to 9 to 10 cases in two countries, Afghanistan and Pakistan,” Chapell noted.
Jerry Baldwin, a retired banker, joined the Rotary in 1976 and served as the local chapter president from 2005 to 2006.
“I’ve been a Rotarian for 48 years this month,” he proudly revealed.
During that time, he was recognized for his community service as a Paul Harris Fellow, the club’s highest honor, named after the founder of Rotary International.
Over the years, Baldwin had worked tirelessly for the Winter Sports Association, sponsor of annual ski jumps at Satre Hill in Salisbury, and served on numerous community boards and associations.
“I was brought up that you can’t just take, you have to give,” said Baldwin. “This is not work, it is an honor and a pleasure. We love the community, it’s a wonderful place to live, and I just feel the need to give back and help others.”
Baldwin said one of the most significant changes he has seen over the years is the club’s dwindling active membership. Dues-paying members, he noted, stood at 78 when he joined, and it’s about half that now.
Today’s younger generations, he explained, keep very busy with activities, but tend to be less civic minded. “It used to be that the next generation believed in a sense of service.”
Rotarian Duane Estes, who coaches baseball at Salisbury School, noted that membership has been declining since the 1980’s.
“Look around the room, it’s not hard to see that we’re an older club, age-wise. We have the same problem and challenges that other organizations do” in terms of recruiting new blood, he said. “Affordable housing fits into it. There are not as many young people as when we moved out here 24 years ago.”
Club members said one of their main goals is to find new recruits.
“We will try to get the values of the organization out there and explain the reasons it’s important,” said Bill Pond, the club’s president nominee and administrator of Noble Horizons, which donates space to Rotary for its weekly meeting.
Rotary provides services to others, promotes integrity and advances world understanding, goodwill and peace through its fellowship of business, professional and community leaders. Rotarians pledge to uphold the organization’s mantra, “Service Above Self.”
Membership dues, at $150 annually, are the club’s major source of income, supplemented by fundraising events throughout the year.
“It’s not our goal to have a huge savings account. As our account builds, we try to reallocate it back into the community,” Pond explained.
Among upcoming activities is the club’s popular Kentucky Derby Social on Saturday, May 4 from 4:30 to 7 p.m. at Noble Horizons. The event, one of its largest and most popular fundraisers, was on hiatus for two years due to the pandemic, but as of last year it is back on track, said organizers.
The event, sponsored by more than a dozen individuals and businesses, features a silent and live auction, and attendees are invited to bet on the horses. Tickets are $25 and doors open at 4:30 p.m.
Then, on May 18, Salisbury Rotary will hold a Day of Service during which members and volunteers will perform clean-up and gardening tasks for the Salisbury Association, partnering with volunteers from the Canaan Day Care Center, including parents and children.
Among other events planned for later this year is the Rotary Club’s annual July 4 fireworks display at Lime Rock Park, and its 75th Anniversary Gala in the fall, the dates and details of which have yet to be finalized.
Referring to Salisbury Rotary Club’s milestone anniversary, Spalding noted, “This will be a good year for us. We’re excited and looking forward to it.”
North Canaan Town Hall
NORTH CANAAN — “If you’re not coming to work, why would you get paid?”
Selectman Craig Whiting asked his fellow selectmen this pointed question during a special meeting of the Board on March 12 discussing Town Clerk Jean Jacquier, who has been absent from work for more than a month. She was not present at the meeting.
“There’s been no reasoning, no explanation, no anything as to why you’re not here,” said Whiting.
Jacquier has worked in Town Hall since 1993 and was first elected town clerk in 2017. Conflict arose in 2023 when several complaints of misconduct were lodged against Jacquier.
First Selectman Brian Ohler filed the complaints to the Attorney General’s office, which included, among others, improper security of the vault, posting candidate campaign material in Town Hall and untimely stamping documents. The subsequent investigation found misconduct on the part of Jacquier in each of these three areas but took no punitive action.
Jacquier filed suit against the Town of North Canaan to recoup $15,000 in legal fees accrued during the investigation. The town motioned to strike the case, which was granted by Hon. Walter Menjivar at Torrington Superior Court on Jan. 28, 2025.
Ohler said Jacquier stopped coming to work after that ruling and has not been in contact since Feb. 4. During her absence, she continued to receive pay checks.
Assistant Town Clerk Marilisa Camardi had been filling in part time but was away the first week of March. To keep the office open, Executive Assistant Paul Mattingly was appointed assistant town clerk by the Board of Selectmen at its March 3 meeting. The two will work together until the next election or until Jacquier returns.
“It’s an essential function of the town to have that office open,” said Whiting.
Last week, Jacquier told The Lakeville Journal her recent absence is due to harassment and antagonism in Town Hall, which is taking a toll on her health.
Jacquier’s attorney, Jeffrey Mirman, communicated with the selectmen to request the meeting regarding her salary be open to the public as opposed to executive session. The selectmen complied.
Selectman Jesse Bunce said he has been in contact with Jacquier and he presented a letter from her to his fellow selectmen during the March 12 meeting. Ohler stated he could not verify the source of the letter, but he would forward it to the town attorney. The letter was not read into the record.
Ohler made a motion to suspend Jacquier’s salary until she returns to work. Whiting seconded. The motion passed 2-0 with Bunce abstaining.
“Every picture begins with just a collection of good shapes,” said painter and illustrator Dan Howe, standing amid his paintings and drawings at the Kearcher-Monsell Gallery at Housatonic Valley Regional High School. The exhibit, which opened on Friday, March 7, and runs through April 10, spans decades and influences, from magazine illustration to portrait commissions to imagined worlds pulled from childhood nostalgia. The works — some luminous and grand, others intimate and quiet — show an artist whose technique is steeped in history, but whose sensibility is wholly his own.
Born in Madison, Wisconsin, and trained at the American Academy of Art in Chicago, Howe’s artistic foundation was built on rigorous, old-school principles. “Back then, art school was like boot camp,” he recalled. “You took figure drawing five days a week, three hours a day. They tried to weed people out, but it was good training.” That discipline led him to study under Tom Lovell, a renowned illustrator from the golden age of magazine art. “Lovell always said, ‘No amount of detail can save a picture that’s commonplace in design.’”
Training led to work. Early on, while still a graduate assistant at Syracuse University, Howe began painting portraits — chancellors, deans, and, later, an endless roster of chairmen and medical executives. It paid well, but Howe found that the job of a portraitist, even a highly skilled one, is ultimately limited. “They’re just the same thing, you know, just a guy in a suit. Later, maybe it was a girl in a suit,” said Howe.
Between commissions, he painted for himself. This show is a gathering of those moments — studies of his wife and daughters, mythic scenes painted for libraries, and Star Wars covers from his time living near Dark Horse Comics in Oregon.A large painting, originally commissioned for a library, shows a girl in an attic opening a trunk, imagination spilling into the room. The library remodeled and sent the painting back. Now it anchors a wall in the show.
Dan Howe’s work reflects the Brandywine School’s devotion to craftsmanship, narrative depth, and a luminous, almost nostalgic realism. Like Howard Pyle and N.C. Wyeth before him, Howe builds scenes using light and composition to evoke mood and meaning. His meticulous brushwork and layering techniques nod to the tradition of classical illustration, yet his work diverges in its contemporary stillness. Of Norman Rockwell, Howe said, “He’s of my era, and our styles are similar. Of course Rockwell is Rockwell. I’ve got a little more painterly, Sargent-esque stuff running through mine.” The influence is there, not as mimicry, but as a quiet echo, refined through his own aesthetic language. “I’m an anachronism,” he said, without regret. His influences form a lineage of illustrators whose work once filled the pages of The Saturday Evening Post and Collier’s. They understood, as Howe does, that a painting must be more than accurate.“Mood is everything,” said Howe, drawing a comparison between two paintings in the show — a couple by a fire — to an old Star Wars concept painting. “Same color scheme. Different world. Mood is everything.”
Teaching remains a passion for Howe. When he and his family moved to the east coast from Chicago, Howe taught a series at the Norman Rockwell Museum called “Painting Like Rockwell,” something he hopes to revive. “I like beginners,” he said. “They don’t have bad habits yet.”
Howe also runs a summer figure drawing workshop at HVRHS with an old-school approach. “You’ve just walked into a time machine — this is art school, 1965. Three hours of drawing in the morning, three in the afternoon. No cell phones.” His methods may be antiquated but the results are living proof that some things are worth preserving. “Maybe this stuff is so old it’s new again,” he mused.
As he hung his pieces for this show, Howe said teachers stopped by, connecting his images to their own memories. “That’s a success,” he said. “If a picture makes someone feel something, then it’s done its job.”
Jon Kopita reading between the lines at the David M. Hunt Library.
Jon Kopita’s work, with its repetitive, meticulous hand-lettering, is an exercise in obsession. Through repetition, words become something else entirely — more texture than text. Meaning at once fades and expands as lines, written over and over, become a meditation, a form of control that somehow liberates.
“I’m a rule follower, so I like rules, but I also like breaking them,” said Kopita, as we walked through his current exhibit, on view at the David M. Hunt Library in Falls Village until March 20.
In 2007, Kopita and his husband, Olaf, an architect, took a trip to The Vitra Design Museum outside of Basel, Switzerland. Kopita found himself infuriated by the pomp surrounding the collection of what were once utilitarian objects, now absurdly canonized. “The irony is that a lot of that furniture was designed to be mass produced, taking really good design and making it accessible to middle class people,” Kopita explained. “It wasn’t supposed to be something so special.” Upon returning home, Kopita began repeatedly writing, “I hate Vitra” on lined paper. Channeling his frustration, he wrote the simple statement 100 times and through the act, found a cathartic release. “It harkened back to when you’re in school and you have to write out, ‘I will not speak in class’ or something 100 times on the black board.” Except for Kopita, what was meant to be disciplinary was not only a contemplative practice, but a healing act.“For me, the experience of repetitive writing became meditative and cathartic, more of an exorcism of thoughts rather than something either punitive or tedious.”
His current show at the library includes work spanning a decade, with many of the pieces created during the COVID-19 pandemic. An educator for over 30 years, Kopita found he had time and space during the pandemic to really investigate his process and to create work in volume.“I did 40 works during the first 150 days,” he said. The early pieces were instructional in nature with words like “wash hands,” “social distancing,” and “zoom” but soon began morphing into existential inquiry —with questions like “is this all there is?” repeating like a dark mantra. Some are reminders of the stark political divisions that emerged during those days. There is a tribute to the Black Lives Matter movement with names repeated in grief: George Floyd and Breonna Taylor. The whole display, Kopita delights, demands something that feels almost radical in today’s digital age: slowness. “This is a difficult show because you really have to stop and process. It asks people to read.”
In many ways, Kopita has spent a lifetime questioning the boundaries imposed on him, both literal and figurative. “90% of going to school is a hazing system where you’re just learning how to write between the lines — these are the rules.” He felt the pressure of conformity from an early age. His own father had expectations for him: a stable corporate job, health insurance, a 401k. Kopita tried it for a year and a half.“It was like my boss was saying, ‘if you work really hard, you can have what I have.’” Kopita took one look at “what he had”— a suburban house, a company car —and thought, “Yeah, I don’t want this at all.” He moved to New York, got a job in a Soho gallery, and never looked back. “I know really well firsthand what it means to step across the line and try to do things differently and do things on your own terms.”
In his piece, “Transition,” Kopita grapples with the fluidity of identity, a structured yet random exercise where “he” gradually transforms into “she.”
“There’s so much going on right now with ideas of gender and what gender means, a kind of war on how people identify,” he said. “There are days where I’m 100% he, and then maybe there are days where I’m more she.” The work, much like his larger practice, is about change, about pushing against the expected, about honoring the beauty in what falls outside the lines.
Kopita is fascinated by the tension between order and deviation, by the way small shifts — whether in handwriting, identity, or thought — can carve out new landscapes. But for all its rigor, Kopita’s work is not about control. It’s about surrender. The act of writing, for him, is like a river cutting through rock, shaping itself as it moves. “I think of it as how the words carve up the paper. So, it actually becomes a three-dimensional exercise in my head at times.” It is discipline as liberation, structure as rebellion, a practice that turns the most mundane act — writing the same word over and over — into something sacred.
