
Winchester Chief of Police Christopher Ciuci with Police Sergeant Peter DeLouis (left), and Officer Scott Twombly (right).
Photo by Jennifer Almquist
Winchester Chief of Police Christopher Ciuci with Police Sergeant Peter DeLouis (left), and Officer Scott Twombly (right).
More than 50 Connecticut school districts have been affected by “death threats” made on social media since the beginning of the school year. Public schools were evacuated and locked down in Winchester, Bristol, Bridgeport, Ansonia, Westport, Meriden, Norwalk, Waterbury, Fairfield, Uniondale, West Babylon, and Torrington as school officials erred on the side of caution. As of Oct. 25, 20 juveniles have been arrested.
Commissioner Charlene Russell-Tucker of the Connecticut Department of Education sent out a letter on Oct. 22 addressed to parents and guardians. The letter, also signed by Governor Ned Lamont (D) and Commissioner Ronnell Higgens of Emergency Services and Public Protection, serves to address parents’ fears and asks them to support safe schools.
“Plans focus on prevention, protection, mitigation, response, and recovery. Safety and security begin at home. We encourage parents and caregivers to help us with this.”
In a recent discussion concerning the “dangers of technology,” Governor Lamont highlighted “Kids Online Safety Act” (KOSA) introduced by U.S. Senator Richard Blumenthal (D-CT) and U.S. Senator Marsha Blackburn (R-TN) (which passed the Senate on July 30, 2024), and Blumenthal was asked about statewide online school threats.
KOSA, according to Blumenthal, “Creates a duty for online platforms to prevent and mitigate specific dangers to minors.”
“Social media is an accelerant, like in a fire,” said Blumenthal. “It can spread and deepen harmful comments, threats and bullying.” Blumenthal continued, “I think effective law enforcement, as we’ve seen in Connecticut, as well as disapproval from contemporaries, peers and fellow students, can have an enormous effect.”
“Police are being very careful to see which is a serious threat and which is maybe some lark. Or somebody thinking it’s a mischievous prank,” said Lamont. Blumenthal added, “This is no joke.”
According to The Children’s Defense Fund: “Gun violence remains the number one cause of death for children ages one to 19, with the gun death rate for children at almost five in every 100,000 in 2020. Babies born the year of the watershed Columbine massacre are now 24 years old. No youth today knows a world without the threat of sudden deadly gun violence.”
The Lakeville Journal interviewed Winchester Chief of Police Christopher Ciuci following recent threats and school closings affected Winsted.
Almquist: Chief Ciuci, when did you begin working with the Winchester Police Department?
Ciuci: I’ve been in Winsted for a year and a half, after just shy of 29 years in Berlin. I grew up in Fairfield County and now I’m learning Litchfield County.
JA: Parents on social media said they were afraid to take their kids to Pearson School in Winsted (elementary school serving 300 children grades 3 to 6) recently. There was talk of a boy threatening with a gun on their school bus. There seemed to be a lot of confusion — parents concerned about what’s real and what isn’t. There was also a lot of criticism of the response from various authorities, including school administrators and police. After school shootings like the recent one in Georgia, there is usually an uptick in copycats on social media, but this seemed different. The threats were more prevalent — more national and widespread. Do these threats seem different to you?
CC: There was a contagious effect throughout Connecticut. What exacerbated that really was the social media. Once it got out there, it just kind of spiraled. It is hard dealing with all these different social media platforms. Getting out the proper message — there is a lot of misinformation. We have dealt with things like this in the past, so there are plans in place. We have a good relationship with the schools, and Emergency Management in Winsted. When you’re talking about school safety, it’s really that partnership between all of us — the parents, the community, the town, the Police department, the Fire department, and Emergency and Emergency Management — everybody. There are plans in place at the school required by state law — school safety plans, lockdown drills.
JA: Was the school’s response adequate?
CC: I thought the principal over at Pearson School did a good job. They were dealing with a child that is only 9 years old. In Connecticut you can’t even charge a child under 10 with a crime. To be honest with you, we don’t even want to get involved with a child so young. With juveniles, our first default mechanism is to divert from the criminal justice system. Especially with a child that age. We have diversion programs; a juvenile review board here, but in this situation, nothing really fit that criterion, because of the age of the child. The school had procedures in place. They met with their social workers, and threat assessment team. They did what they were supposed to do and made an assessment.
JA: Why were parents so critical of the response?
CC: I know where things got carried away because instead of the parents dealing directly with the school, or dealing directly with us, they just started putting stuff out on social media. Then that triggers and creates alarms, and that is what we want to try to avoid. After any incident like this it’s important to sit down, look at how it was handled, and determine what can we do better next time.
JA: It was reported that recently in Ansonia, a 13-year-old girl confessed that she made a threatening school post. She was charged with first-degree threatening and second-degree breach of the peace. In Florida, Sheriff Mike Chitwood perp walked an eleven-year-old suspect into custody, and a video of the child being arrested was shown to the public. The authorities said they wanted to publicly shame the parents and their child. How do you respond to that approach?
CC: It is hard to determine a lot of these threats that that are circulating now, because the technology allows them to know they’re anonymous. We don’t know where they’re coming in. They are disguising the numbers, disguising emails, disguising the social media posts. So, it’s difficult to track that back to the source and pursue it criminally. Make no mistake, if we can identify them, we really have a zero-tolerance policy at this department when it comes to threats. If a child was of age to be criminally charged, we would still follow through with that referral process, but we would divert them to the juvenile review board. But if there was a crime committed by someone of age, the message we want to send the child is that we’re going to pursue criminal charges.
JA: How do you determine a real threat?
CC: It is a multi-layered problem when the threat is real — you have the actual perpetrator, you have an actual crime that’s going to be committed. I think probably the hardest thing is determining whether a threat is real or not. We’re a small department without enough staffing. When you talk about school safety it takes a town-wide commitment. Not just supporting the people involved in public safety, but financially supporting them as well. Providing public safety is not cheap. But it’s in between handling calls for service such as dealing with school incidents which pulls everybody away from everything else.
The Children’s Defense Fund states: “Our nation’s young people deserve the chance to have a childhood free from violence and a country with leaders who ensure that they are safe in their schools, neighborhoods, and communities.”
Joy Brown installing work for her show at the Tremaine Art Gallery at Hotchkiss.
This year, The Hotchkiss School is marking 50 years of co-education with a series of special events, including an exhibition by renowned sculptor Joy Brown. “The Art of Joy Brown,” opening Saturday, Feb. 22, in the Tremaine Art Gallery, offers a rare retrospective of Brown’s work, spanning five decades from her early pottery to her large-scale bronze sculptures.
“It’s an honor to show my work in celebration of fifty years of women at Hotchkiss,” Brown shared. “This exhibition traces my journey—from my roots in pottery to the figures and murals that have evolved over time.”
Co-curated by Christine Owen, Hotchkiss ceramics instructor, and Joan Baldwin, curator of special collections, the scale and scope of the exhibition was inspired by a recent Ed Ruscha retrospective in Los Angeles. “I thought it would be incredible to showcase all these different aspects of Joy’s work,” said Owen, who has known Brown for over 30 years.
Brown’s father, a Presbyterian missionary and medical doctor, opened a hospital in Japan where Brown grew up and cultivated her love of clay. Her first apprenticeship was in Tomba, a region in Hyogo Prefecture known for its ancient pottery kilns and Tambayaki pottery. “There are thousands of years of continuous history of clay there and I was working with a 13th generation potter.” Brown recalled that as part of her early training, her teacher handed her a sake cup and said, “make these.” With no extra instruction given, Brown proceeded to make thousands of copies of the cup. Never fired, she realized that the pieces were an exercise. She explained, “You’re not really making something, you’re participating in a process that these things emerge from.” From there, she embarked on an apprenticeship with master potter Shigeyoshi Morioka. As part of the process she learned from Morioka, Brown has built a 30-foot-long wood-firing tunnel kiln on her property in Kent, Connecticut, where she fires her work once a year in an intensive month-long process. The fire’s natural interaction with the clay creates unique earth tones and ash patterns, highlighting the raw beauty of the material.
Natalia Zukerman
“I learned not just pottery but a whole way of life,” she recalled. “The work is a continuous process—like practicing a signature until it evolves into something uniquely yours.” Her figures, initially emerging as playful puppets, have since evolved into large-scale sculptures now found in public spaces from Shanghai to Broadway to Hotchkiss’s own campus.
Brown’s seven-foot “Sitter with Head in Hands” was installed near Ford Food Court in October, followed by “Recliner with Head in Hands” near Hotchkiss’s Main Building in November. She welcomes interaction with her sculptures, encouraging visitors to touch them and even dress them with scarves or hats. “These figures transcend gender, age, and culture,” Brown noted. “They’re kind of like when you’re 4 years old and you didn’t know or care what you were, you know? All of us meet in that field and I think people resonate with that.”
In conjunction with the exhibition, Hotchkiss will host a screening of “The Art of Joy Brown,” a documentary by Eduardo Montes-Bradley, followed by a panel discussion with the artist and filmmaker on March 6 in Walker Auditorium. Brown will also serve as an artist-in-residence, collaborating with students on special projects.
On being part of the celebration of women at Hotchkiss Brown said, “Fifty years ago, I was deep in the mountains of Japan, immersed in clay.” With a soft spoken and almost childlike quality, Brown spoke about and interacted with her pieces with curiosity, reverence and wonder.
“The practice of working with clay for all these years is grounding and centering for me. It challenges me,” she said. “The work forces me to put myself out there. It’s not just the making of the pieces that make me more whole, the pieces themselves become more present.”
Brown reflected on the retrospective nature of the show and shared that putting it together has been like looking at a family album. “It’s kind of like I’m seeing my whole life in front of me,” she said. “It’s humbling and makes me think about why I do what I do. It comes back to the idea of those thousands of sake cups, you know? We’re just here, being as present as we can be. We’re not making things, we’re participating in a process of being more present, and all that spirit is reflected in the work.”
“The Art of Joy Brown” opens Saturday, Feb. 22, and runs through April 6. For more information, visit www.hotchkiss.org.
This story has been updated to reflect a change in the scheduled opening date due to forecast extreme weather conditions.
A special screening of “The Brutalist” was held on Feb. 2 at the Triplex Cinema in Great Barrington. Elihu Rubin, a Henry Hart Rice Associate Professor of Architecture and Urban Studies at Yale, led discussions both before and after the film.
“The Brutalist” stars Adrien Brody as fictional character, architect Laszlo Toth, a Hungarian-born Jewish architect. Toth trained at the Bauhaus and was interred at the concentration camp Buchenwald during World War II. The film tells of his struggle as an immigrant to gain back his standing and respect as an architect. Brody was winner of the Best Actor Golden Globe, while Bradley Corbet, director of the film, won best director and the film took home the Golden Globe for Best Film Drama. They have been nominated again for Academy Awards.
Laszlo Toth goes to work in his cousin’s furniture store when he arrives in New York, living in the storeroom and helping his cousin build up the business. When his cousin’s wife falsely accuses him of making a pass at her, he ends up living in a homeless shelter.
A would-be patron tracks him down, finds him working construction—the only job he can get—and asks, “Tell me, why is an accomplished foreign architect shoveling coal here in Philadelphia?”
Eventually, Toth gains a commission but faces prejudice as a foreigner and Jew, even though he and his wife, who he reunites with after she’d been in the concentration camp, Dachau, are both highly educated—she is an Oxford graduate and an established writer in their home country of Hungary.
Rubin began his discussion before the screening by saying, “I am thrilled this film has brought architecture to the forefront. There is something so fascinating and robust about the space Brutalist architecture creates.”
Brutalism is known for using “raw materials,” such as brick and concrete in ways that leave them visible. Rubin said that concrete is “incredibly expressive. It comes to the building site as mud and becomes what it is poured out as.”
“At first,” said Rubin, “optimism was associated with Brutalism.”
Brutalism came to the forefront of architecture in the 1950’s when it was used to reconstruct housing in the United Kingdom after WWII.
Some prime examples of Brutalist architecture include Boston City Hall, Rudolph Hall at Yale University, and the Temple Street Parking Garage in New Haven.
Rubin commented, “Brutalist architecture became the de-facto language of government and institutional architecture.”
Rubin said Brutalism began to fall out of favor in the 1970’s when it began to be associated with urban decay and totalitarian governments, who used it extensively.
Rubin asked the audience to consider two questions as they watched the film: “Why is the main character an architect… what does it bring to the emotional core?” and, “Who or what is the Brutalist in the film?”
After the screening, Rubin commentedtha Brutalist architecture is about “Getting an object to, ultimately, stand by itself.” Rubin explained that Brutalism “Throws off shadows of the past. No extraneous detail is left.” Audience members discussed how this could also be true of the character of Laszlo.
Rubin explained that architects face the challenge of “how to express themselves through someone else’s commission.” Discussion involved how Laszlo finds a way to achieve this.
The audience agreed that the film brought up some timely issues about immigration, class awareness, and acceptance, while asking them to consider how Brutalism applies to these subjects. The movie is at times, as rawly constructed as a brutalist building.
Breece Meadow
Chances are you know or have heard of Jeb Breece.He is one of a handful of the Northwest Corner’s “new guard”—young, talented and interesting people with can-do spirit — whose creative output makes life here even nicer than it already is.
Breece’s outward low-key nature belies his achievements which would appear ambitious even for a person without a full-time job and a family.The third season of his “Bad Grass” speaker series is designed with the dual purpose of reviving us from winter doldrums and illuminating us on a topic of contemporary gardening — by which I mean gardening that does not sacrifice the environment for the sake of beauty nor vice versa. There are two upcoming talks taking place at the White Hart:Feb. 20 featuring Richard Hayden from New York City’s High Line and March 6 where Christopher Koppel will riff on nativars. You won’t want to miss either.
An investment manager by trade, Breece and his wife Sabina rented a weekend house in Kent in 2011 just after they had their first child.Soon after he began to volunteer at a nearby farm and then started to cultivate a small cutting flower bed.Breece’s insight — that it is a rare farmer who is great at both growing and selling — led him in 2020 to aggregate demand and supply for cutting flowers by creating a monthly flower market at Kent Barns in collaboration with RT Facts. Coinciding with Covid, the outdoor market became, in many ways, a respite during a challenging time.
Covid provoked Breece and Sabina to move full time to Salisbury.Soon after, he met Page Dickey who had just published her book “Uprooted.” Had it not been for this book and his friendship with Dickey, Breece admits that his front yard would have been landscaped with a version of boxwood and liatris and the existing grass lawn would have been maintained at great expense.Dickey introduced him to organic landscaper Mike Nadeau and a meadow was born.
Meadows.I have written quite a bit about them in this column, in part because a meadow can be a wholesale solution to the lawn issue.It is by no means the only solution but, for a large expanse, it can be extraordinary to behold.The creation of a biodiverse native habitat where there was only a version of grass and weed is a sensation-filled wonder, but it does take a while to achieve this graceful state unless you have the wisdom of Nadeau — and his machinery — behind you.Now going into its fourth year, the Breece meadow has evolved as new native perennials and grasses show up.“It is beautiful to look at from the house but is best experienced from its interior where you can see, hear and feel the life around you.”
While his world view on gardening has changed, Breece doesn’t think of himself as an advocate of native habitats.But he is.The proceeds from Bad Grass this year will go to its 2025 partner project, Steep Rock Preserve’s “Holiday House” project to transform the space into a “ruin garden,” preserving its historical significance while enhancing its natural beauty and restoring native vegetation.
The spongy moth infestation of 2021 and 2022 feels both a long time ago and like yesterday.Walking in the woods, as I did this morning, the effects of spongy moth are more visible than they were last year; the winter winds have blown off the dead limbs from trees that succumbed to the voracious moths’ leaf-eating appetites.On our property we were able to save many trees using BtK and trunk wraps.But most of the truly glorious giant oaks – some well over 70 feet tall and almost as wide - succumbed.Now, several years later, these limbs are taking down smaller trees as they fall to the ground.There is not much to do about it right now unless you can safely relocate a fallen branch that has landed on and distorted an otherwise living tree. Events like this are a reminder of how many young tree recruits we need to ensure the viability of a woodland. This spring there will be quite a bit more light reaching the woodland floor as a result of the dead trees. The open canopy means an opportunity for growth.It is up to us to decide what will grow in these spaces as, without our intervention, they will be overgrown with invasives, prohibiting native trees from growing and destroying a previously viable habitat.Look for these spaces and pull out the invasives as they grow in.For more on the topic go to www.theungardener.com/articles/the-over-under-a-bet-on-the-future-of-the-woods
Dee Salomon ‘ungardens’ in Litchfield County.