
Pamela Osborne
I once had a friend, now cooking in heaven, who served exactly the same meal every time I went to his house. He was pretty offended if anyone remarked or complained about it, which I gathered had happened. He had all the steps down pat though, could put it together in his sleep, and had no plans to make any changes. His wife had no plans to take over, either, dish duty was her niche. I was fine with all this, since I never had that meal anywhere else, but I have to ask: Weren’t they bored?
I’ve been thinking about this as spring and various holidays approach. One thing I’m pretty sure of is that when it comes to what they expect to see on the festive table, most people sitting around it don’t exactly have open minds. How else to explain the cries of shock and horror that mark the absence of, at Thanksgiving for example, a casserole of canned sweet potatoes sloshed with orange juice and topped with a blanket of melted marshmallows? Which, okay, has earned its place and its admirers, people like it and I’m not here to say never.
I have a vintage “Joy of Cooking” that has little poems and quotes at the start of every chapter. “A definition of eternity: Two People and a Ham”, says one. Ham, lamb, turkey (again?), and so it goes. People expect them to be on their holiday table no matter what because they always have been, and they probably always will be. Eyes may glaze over, eyes may roll, nothing will change: we know what we want and we’re sticking to it. What’s on the side, I would suggest, is your only chance to ring in anything different. With that in mind I offer the following, which I first had in a Persian restaurant, Mohsen, when I was visiting a friend in London a few years ago. Mohsen is a very modest restaurant, sort of a luncheonette, but it’s full of Persians and the food is terrific. The name of this dish means “sweet rice,” but it isn’t particularly sweet. It is offered at weddings and other special celebrations, and is Really Good. It will go well with the ham or lamb or whatever other main dish is on your table. You’ll like it, I promise, and, best of all, you can do most of the work ahead of time.
Shirin Polo
Oranges Buy several, let’s say half a dozen. Organic only, you’re going to eat the peel.
1/2 c. sugar
1 c. water
1/3 c. slivered blanched almonds
1/3 c. slivered unsalted pistachios - you’ll have to sliver them yourself
1 and 1/2 c. uncooked basmati rice
Optional: saffron, an onion, raisins or sultanas
Using a vegetable peeler, cut just the (washed) orange-colored peel from the oranges. Don’t cut into the bitter white pith, just the outer layer is what you want. Flatten the pieces onto a cutting board and cut them into very fine slivers with a very sharp knife. You want a cup of slivers, lightly packed. It will take a while to do this, and it’s worth it.
Put the zest into a sauce pan, cover with water and bring to a boil. Cook at a medium boil, uncovered, 5 to 7 minutes; drain. Do this again with fresh water; drain again.
Put the sugar and 1 c. water into the emptied saucepan, bring to a boil while stirring to dissolve the sugar. Add the zest, reduce the heat to low medium, and cook until the liquid is reduced to about three tablespoons, stirring occasionally. Using a slotted spoon, remove the zest — which should look fairly transparent at this point — to a plate. Spread it out and let it cool. This can be done the day before; keep it refrigerated until you need it. Let it come to room temperature before adding it to the dish. If you keep the syrup, you can add it to ice cream, etc.
If you want an onion in your dish, sauté it, thinly sliced or chopped, in a mixture of a few tablespoons of butter and oil, until it is lightly browned and softened. If you want saffron, dissolve a pinch in a few TB. of water, keep aside. If you use raisins or sultanas they should be fresh, not hard and dry.
Mohsen did not use any of these optional ingredients. I called them a few times when I was figuring this out, because online recipes for shirin polo use a host of other ingredients, carrots in particular. But no, they said, only the ingredients listed above. I have used some of the optional ingredients listed and they were good, but the dish stands very well on its own without them. I usually don’t fiddle.
Cook the rice, mix in the onion (and its butter/oil) and raisins, if you’re using them. Put this into a buttered serving dish and, if you’re using the dissolved saffron, drizzle it over the rice. At this point, a few hours before serving, you can cover this and keep it on the counter. Later, put a few dots of butter onto the rice — a tablespoon or so, more if you’ve doubled the recipe, but don’t go crazy — and recover. Heat at 300 to 350 degrees for about half an hour or so. It should be hot. Before serving. spread the orange peel over the surface and sprinkle with the almonds and pistachios. You will want sea salt (Maldon) and pepper at the table.
This recipe will serve five or so, depending on what else is on the menu. The photograph shows a double recipe, more than enough to feed ten. If you double it, use only one and a half times the orange peel and nuts. I think you will be surprised to see how so few ingredients can synthesize into something so very good.
Pamela Osborne lives in Salisbury.
Dancers from Pilobolus will perform at the NWCT Arts Council spring fundraiser on April 26 in Washington Depot, Conn.
On Saturday, April 26, the Northwest Connecticut Arts Council will host a special evening, Arts Connected, their spring fundraiser celebrating the power of creativity and community. Held at the Bryan Memorial Town Hall in Washington Depot from 5 to 8 p.m., this event brings together artists, performers, and neighbors for a magical night filled with inspiration, connection and joy.
Award-winning designer and arts advocate Diane von Furstenberg and her granddaughter Antonia Steinberg are honorary co-chairs of the event. Their shared love of the arts informs the spirit of the evening.
Antonia Steinberg, above, President of Bucks Rock Camp in New Milford that she first attended as a camper when she was ten years old. Antonia is co-chair, with her grandmother Diane Von Furstenberg of the NWCT Arts Council fundraiser.Provided
“As someone whose life was profoundly shaped by the arts — as a child at Buck’s Rock and now as President of its Board — I’ve seen firsthand the transformative power of the arts; how creative spaces can empower young people, build community, and nurture well-rounded problem solvers. That’s why I’m so honored to co-host the Northwest CT Arts Council Gala. Their work in supporting artists and cultural organizations across Connecticut is essential,” said Steinberg.
Von Furstenberg’s influence in fashion and culture, and Steinberg’s leadership at Buck’s Rock reflect the intergenerational impact of the arts,” said NWCT Arts Council board president Sunday Fisher. “Their participation underscores the power of creative expression as a defining force in our community.” Steinberg is the president of Buck’s Rock Camp, a non-profit performing and creative arts camp in New Milford that she first attended as a 10-year-old camper.
Diane Von Furstenberg, co-chair of NWCT Arts Council fundraiser.Provided
Steph Burr, executive director at NWCT Arts Council, added, “Events like Arts Connected are at the heart of what we do — bringing people together, lifting up artists, and reminding us of the essential role creativity plays in our lives. The Council works year-round to ensure the arts not only survive but thrive across our region.”
NWCT Arts Council is a nonprofit that serves as advocates for the arts. Through regranting efforts, public art support, legislative advocacy, and their regional events calendar, they work to ensure the arts are accessible and celebrated in every corner of their 25-town service area.
Burr continued, “The arts in Northwest Connecticut are vibrant, evolving, and deeply rooted in community. There’s a quiet but powerful creative pulse running through these hills — one that reflects the resilience, diversity, and passion of the people who call this region home. Over the past few years, artists and cultural organizations have navigated challenges with heart and determination, despite ongoing funding volatility. Through our advocacy and collaborative programming, we ensure the arts remain essential and accessible in our community.”
Highlights of the April 26 fundraiser include performances by Pilobolus, Sherman Chamber Ensemble, Ysanne Marshall & the Lotus Blues, hand pan musician Jeremy Driscoll, and a curated art exhibition, NW25 Gallery, featuring local artists. Sponsors Litchfield Distillery, Kent Falls Brewing Company, and Executive Cuisine catering will provide the food and drink.
Ticket prices are $125, open to guests 21 and older, available online at givebutter.com/artsconnected.For more information or to ask about sponsorship opportunities, email Katherine Pelletier at katherine@artsnwct.org or visit givebutter.com/artsconnectedsponsorship.
Arts Connected is made possible thanks to the generous support of sponsors; Antonia Steinberg is sponsoring all the artists for the event and Valiant Energy and Torrington Savings Bank are presenting the event.Additional sponsors include William Raveis Lifestyle Realty, Litchfield Magazine, Housatonic Heritage, Art Bank 7, Harney & Sons Teas, Aquarion Water, The Lost Fox Inn, George Home, NKYV Rituals, and Litchfield Distillery.
Lily Al-Nemri, founder and owner, and artistic director and painter Rudy Vavra at Tyte medispa and gallery in Millbrook.
The painter Rudy Vavra once created floor collages in Texas. You could, in theory, lie on them. Now, years later and much farther north, his work graces the walls of a medispa in Millbrook, New York where he also serves as the artistic director. You can still lie down, just not on the art. Instead, you might be undergoing an EmFace non-surgical facelift while surrounded by twenty-two of Vavra’s paintings.
The space, Tyte Medispa in Millbrook, is equal parts gallery and treatment center, the brainchild of Lily Al-Nemri, a medical aesthetician and now gallery owner. She also owns the nail salon, Bryte, down the street on Franklin Avenue. A few years ago, feeling she was outgrowing that space, she looked to expand and, just a few blocks away, found this rather sprawling maze of rooms with the gallery that now inhabits the grand central ballroom. “This used to be a gym,” she said. “It was way more than I was looking for, but I went for it.”
Vavra, a self-professed “painter’s painter,” has spent decades layering pigment in his barn-turned-studio in Milan, New York. “I find paintings as much as I make them,” he mused. “Some happen quickly, others are slow.” Of this latest collection, he said, “Some people call them busy. I think they’re slow.” His marks accumulate with a kind of devotional persistence, like petals left at a shrine. “A while ago, I saw a photographic image of a shrine,” Vavra said. “I don’t know if it was a Buddhist shrine or what, but there were colors on the ground all around it, and I realized they were the stains of flowers left in the worship. That’s very similar to the way I paint.”
The collection of paintings on view at Tyte — some as large as a shrine — are meditations on color, inviting the viewer to slow down. Or speed up. Whether viewers are activated or soothed by the images is neither Vavra’s intention nor within his control. Still, he said that watching people interact with the work has been a real treat. “Now that I have my paintings here, I get to see them all together,” he said. “It’s only when they’re all together that I see how they talk to each other. It’s interesting to see people come in and go to have a treatment and come out. It’s a very interesting connection.”
And what is the connection? What could be a disjointed pairing — aesthetics and aesthetic medicine — has become, improbably, a perfectly logical continuum. “They’re related in a sense,” Vavra said.
Aly Morrissey
Al-Nemri, a former radiologist who taught for over a decade at Westchester Community College, is no stranger to layering, precision, or the quiet rigor of care. Her incredible menu of services — Botox, body contouring, pelvic floor therapies — are the cutting edge of the industry. Of Vavra, Al-Nemri said, “I fell in love with his work, and we just hit it off.” It’s a kind of kismet that seems to hover over the place. Pilates mat classes take place twice a week in the main gallery space and both Al-Nemri and Vavra have loved watching clients pause, eyes caught by a stripe of cerulean or a vibrating cluster of brushstrokes. “Something will catch their eye,” said Vavra. “They’re looking for something in it.”
So, this gallery-meets-spa (or is it the other way around?) has plans. Vavra will be curating six shows a year. Laurie Adams’s photographs will be hung in June, a group show of local artists will share the space in July and August, and a Fall show will feature twenty women artists, which Vavra is eager to anchor with a piece by Judy Pfaff. “There’s nothing like this on this side of the county,” he said of the light drenched space. “It’s been a bit sleepier here. We want to wake it up.”
He means it kindly; sleep certainly has its place. But here in Millbrook, amid the low drone of machines designed to rejuvenate, something unexpected has emerged. Perhaps that’s what both Al-Nemri and Vavra are really after — not the quick fix or the final image, but the suspended moment, the long look. A face seen anew. A painting revealed slowly, in silence.
As for Vavra’s curatorial process? “I just unpack the paintings, lean them against the wall, and look,” he said. “Eighty percent of the time, they’re already where they’re supposed to be.”