
Connecticut Department of Agriculture approved development of a home on protected farmland at 39 Sharon Mountain Rd. Up on the hill, a large home is visible.
Photo by Taylor Plett
Connecticut Department of Agriculture approved development of a home on protected farmland at 39 Sharon Mountain Rd. Up on the hill, a large home is visible.
SHARON — Construction is underway on two protected agricultural properties after the Connecticut Department of Agriculture (DOAG) approved the owners’ plans to build multimillion-dollar homes in August of last year.
The properties were placed under farmland preservation restrictions in the mid-1980s, making them two of the earliest protected properties of their kind in the country. These restrictions work by placing agricultural land under easement when landowners sell their development rights to the state, barring subdivision and requiring that the land remain available for farming.
DOAG, which is the sole authority on the interpretation of the easements, found homes, garages, and pools to be permissible according to the language of the original deeds — an interpretation that has spurred pushback from local residents and lawmakers.
“The development is absolutely contrary to the heart and the spirit of what the easements were put in place for,” said State Senator Stephen Harding (R-30). That intention, in Harding’s view, was “protecting this land as agriculture and open space.”
One of the properties, known as Paley Farm, is at the center of a Superior Court Case brought by Sharon Land Trust (SLT) and Carol Flaton when they filed an injunction request against the residential construction in July.
Paley Farm was put under a farmland protection easement in 1984 by retired farmer Morris Paley, who told a New York Times reporter in a 1982 interview that he wanted the land to remain a working farm.
The other property, 39 Sharon Mountain Road, was put under easement by farmer Walter “Pete” Turkiewicz in 1986. It was purchased by Rokeby Farm, LLC and signed for by James Reddoch of Rye, New York in December 2021, three months before David and Liza Bainbridge, also of Rye, purchased Paley Farm. Reddoch and the Bainbridges filed applications to construct within three months of each other, and both applications were approved by DOAG in August 2023.
Attempts at contact with Reddoch and the Bainbridges were unsuccessful.
According to DOAG Director of Communications Rebecca Eddy, the DOAG’s decision-making process regarding such applications is “guided by the language contained in the particular recorded deed at issue.”
Eddy explained that amendments made to the development rights program in 1988 and 1996 tightened the bounds of permissible residence construction, but those amendments don’t work retroactively. As the DOAG construction approval letters for both properties state, “It is likely that this house would not be permitted under our current statutes and deed requirements.” The original language, however, is all that applies.
That language, per the Turkiewicz property deed, retains the right to construct “residences for persons directly incidental to farm operation [...] as long as the acreage and productivity of arable land for crops is not materially decreased and due consideration is given to the impact of any decrease in acreage or productivity of such arable land upon the total farm operation.”
In the applications submitted by both Reddoch and the Bainbridges, the owners described their planned construction as “farm residences.” Reddoch stated that he sought to build the residence “to enable farm operations.”
According to building permits provided by the Town of Sharon Building Department, Reddoch’s construction plans include an approximately $4.6 million home, $980,000 pool house and $350,000 garage.
Both Reddoch and the Bainbridges stated in correspondence with DOAG that they plan to allow their land to be farmed, though Reddoch did not specify who would be farming the land or the timeline for beginning farm operations.
According to Eddy, farmland preservation deeds do not “force the property owners to engage in farming practices,” but require that land remains “available for farming.”
“Available for farming means that we haven’t plopped houses all over the place, we haven’t stripped the topsoil off, we haven’t negatively impacted the ability of that land to continue to be used for farming other than the footprint of the house,” said Joan Nichols, executive director of the Connecticut Farm Bureau Association, a private membership-based nonprofit that advises DOAG on the preservation program.
Nichols explained that in its early stages, Connecticut’s farmland preservation program was aimed at combating the intense development pressures that came along with the 1980s’ “boom of the subdivision movement.”
While the program bars multi-home and commercial development, State Representative Maria Horn (D-64) argued that its requirements aren’t specific enough to preserve farmland in effect.
“Is it active agriculture? When does it start? Is it just somebody who mows their field once a year and calls it agriculture?” she said, referencing the ‘available for agriculture’ language. “It allows a little too much play in my view.”
Horn has been working alongside Harding to engage DOAG, Attorney General’s office, land trusts, and local constituents on the issue of the DOAG’s interpretation of the Paley easement.
Both lawmakers contend that DOAG’s decision to approve construction ran afoul of the original intent of the easement, which Horn emphasized was at the expense of constituents’ tax dollars.
According to SLT Treasurer Allen Reiser, the state paid today’s equivalent of about a million dollars to purchase Paley’s development rights. Likewise, the state paid about $300,000 to purchase Turkiewicz’s development rights in 1986, equating to over $800,000 today.
“Included in that calculation of the value of these easements is, what kinds of activities is it stopping?” said Horn. “And if this is all it meant, I think the government overpaid for these easements.”
Horn emphasized that the easement interpretation debate is especially pertinent as the state recently dedicated nearly $10 million to the DOAG to purchase additional agricultural easements.
Beyond taxpayer interests, Nichols noted that farmland protection measures are of particular concern for local farmers as farmland prices continue to soar in Connecticut. The more attractive protected farmland is to non-farming buyers, the more local farmers must struggle to compete for the same land, she explained.
“We need to protect not just the interests of the land, but the interests of the farmer,” said Nichols, calling for further discourse among farmland protection stakeholders. “How do you make sure land stays in production and doesn’t turn into someone’s 60-acre lawn? That’s the question we haven’t answered yet.”
Jennifer Dillon, SLT board president, underscored the Trust’s hope in the Paley Farm court case decision to pave the way for more restrictive easement interpretations in the future.
“We’re doing this because of the precedent as much as because of this individual case,” Dillon said.
According to Horn, there’s a high likelihood that as land under historic easements changes hands in the coming years, wealthy buyers will be looking to develop more homes using the same pathway as Reddoch and the Bainbridges.
“These are spectacular properties in a very desirable area,” said Horn. “We better be prepared.”
Read more in our previous coverage of these proceedings here:
Paley Farm owners build ‘at their own risk’
Construction begins on protected farm ahead of Superior Court case
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.