I’ve learned more about the incredible work The Little Guild does to rescue homeless dogs and cats, help them heal, and find them loving homes,” Reid wrote on her fundraising page. “They also provide training, food, and other support that helps keep pets with the families who love them.
— Maggie Reid
SALISBURY — This summer, Hotchkiss junior Maggie Reid completed a 275-mile bike ride from Salisbury to the Canadian border, raising $5,600 to support The Little Guild, a West Cornwall-based animal shelter.
Reid made the four-and-a-half day journey with her father and riding partner, Alex Reid, carrying most of what they needed in bags attached to their bikes.
Reaching the border, she said, was “definitely one of my proudest moments.”
“It was a hard four and a half days, and I was just really glad that we completed it,” Reid said.
Riding for a cause has become a tradition for Reid and her father, although this trek has been the longest and most challenging.
“This ride was definitely more intimidating because it was much longer than the previous ones,” Reid said. “After the first day, I was definitely feeling a little sore. But I just refused to quit.”
Her father said Reid’s love for animals began at a young age.
“When she was younger, Maggie watched news coverage of animals displaced by a devastating hurricane and wanted to find a way to help,” he said. “She and a friend organized a neighborhood lemonade stand, raising several hundred dollars for the Humane Society.”
Today, she remains involved in supporting at-risk animals. At Hotchkiss, Reid is a co-leader of the school’s Humane Society Club, which has teamed up with The Little Guild in the past.
“I’ve learned more about the incredible work The Little Guild does to rescue homeless dogs and cats, help them heal, and find them loving homes,” Reid wrote on her fundraising page. “They also provide training, food, and other support that helps keep pets with the families who love them.”
For the ride north, Reid and her father packed most of their belongings into bags attached to the front and back of their bikes.
Provided
“We had to pack light and be very intentional about what we chose to bring,” she said. “I had to sit on my bags because they wouldn’t close.”
Long distance biking has become a father-daughter tradition.
“We just kind of do it for fun as a bonding activity,” she said. “It’s kind of our thing now.”
Reid attributed her success, in part, to the encouragement she received from her father along the way, especially during hills and inclines when mental and physical fatigue can set it.
To keep the vibes high, the duo has a soundtrack for the more scenic and safe stretches of their rides. They kick off each journey with Queen’s “Bicycle Race.”
The second and third days, they hit some inclines and elevation, but the scenery was worth it. She said they rode past corn fields, mountains and scenic overlooks. “Toward the end, we were biking toward Lake Champlain, so that was a really pretty view.”
By the fourth and fifth day the temperature skyrocketed and created another challenge. “We had to stop for more Gatorade breaks,” she said.
On their final day, they made it to the Canadian border after biking a short 30 miles, she said. They treated themselves to Ben & Jerry’s ice cream. “That was my big reward,” Reid said.
Reid said she doesn’t plan to stop biking. “It reminds me of happy summers,” she said.
KK Kozik in her studio
It is a particularly fitting philosophy for an artist whose paintings often begin with the world around her but rarely end there. There might be something recognizable — a stone wall, an apple tree, a crow — but then there is something less certain. Something that appears to be one thing becomes another upon inspection. Memory gets involved. So does imagination. So does time.
Since moving from New York City to Sharon, Connecticut in 2006, the landscape around her has become increasingly important to that process.
“I just saw things differently,” Kozik said.
The change was not immediate. She remembers an earlier version of herself driving through Vermont without paying much attention to what was happening beyond the windshield.
“I didn’t have the means to see what was happening around me,” she said. “I just sort of la, la, la, la, la, driving to Vermont.”
But, she said, she started to pay attention differently.
“I became more sensitized as time went on,” she said.
Asked whether that change came with age, she said, “Age and so-called wisdom.”
There’s a sense of loss in her landscapes, but a particular kind of loss that also has a twinge of redemption. Specifically, what happens to a landscape when people leave it?
“When the people go away, the wildlife comes back,” Kozik said.
KK Kozik in her studio with her painting “Golden Delicious.”Natalia Zukerman
Kozik’s work has never settled into a single recognizable formula. She has painted landscapes, figures and still lifes, moved toward abstraction and returned to representation. Her subjects change, but the underlying impulse remains: to take what is in front of her and discover what else there might be.
Kozik describes herself as someone who is always trying to figure things out. Her paintings often have the feeling of a thought in progress rather than a conclusion. They have been called “single-line novellas,” a description that makes sense: They can contain the suggestion of an entire story without telling you exactly what happened.
The animals are part of that storytelling.
They arrived partly because of what was disappearing.
“They were like the new redemption in a way,” she said.
There is something almost funny about the way Kozik talks about this — not because the loss itself is funny, but because she refuses to turn it into a grand pronouncement. She observes something, considers it, and lets it complicate the work.
That same sensibility comes through when she talks about her own development as an artist. Her paintings make room for interpretation. They don’t always tell the viewer what an animal symbolizes, or why a landscape has been altered, or where a particular image came from. Instead, they leave enough evidence to make you curious and enough room for your own stories.
The effect is not accidental. Kozik has spent years thinking about how images work, both as paintings and as containers for ideas.
Her work is currently included in “The Naturalist,” a group exhibition on view through Sept. 13 at Kenise Barnes Fine Art in Kent, alongside Richard Klein, Sally Maca, Rick Shaefer and Tricia Wright. The exhibition brings together artists whose work engages with the natural world, including its forms, histories and mysteries.
Kozik is an especially apt fit for the exhibition. She is described by the gallery as a landscape painter, figurative painter and interiors/still-life painter whose work frequently moves toward painterly abstraction. Her practice, the gallery notes, is “fluid and continuous” — always searching for new pictorial problems to solve.
That search has also extended beyond her own studio.
For several years, Kozik ran ICEHOUSE Project Space, an 18th-century icehouse on Sharon’s town green that she transformed into an unusual venue for contemporary art. It opened in 2018 with Dan Devine’s “Inside-Out NASCAR” and went on to host site-specific projects by artists including Mark Dion, Eric Aho, Janet Biggs, Richard Klein, Kristin Jones, Lisa Hoke and Ryan Frank. The projects addressed everything from the decline of winged insects and native and invasive plants to Sharon’s iron industry, its gardens and its history as an ice-producing community.
The space is now closed, but its premise still feels connected to Kozik’s painting practice. Each project responded in some way to the physical location, turning what might otherwise have been a little historic outbuilding into a setting for contemporary art.
Kozik’s own work does something similar with the landscape. She takes a place and lets it become more than a place.
Kozik’s paintings tell us that something happened before we arrived, and that something will happen after we leave.
And then there is the question of what to do with the space in between.
Maybe Kozik’s paintings are less about that space and more about an idea, as she put it, of “which questions to think about.”
Jazzmine Bone and A Stitch in Tyme power through the Gambler’s Choice run during the 2024 Lakeville Open.
The event, which has been held continuously for 69 years, is open to the public with free admission.
Individual competitions will run from 8 a.m. to 5 p.m., and visitors can stop by briefly or settle in for the day.
A food truck, bake sale and portable restrooms will be available on-site.
The show is the primary fundraiser for The Lakeville Pony Club, with proceeds supporting young riders who need financial assistance to participate in lessons. Members and their families work throughout the year to create the event for both competitors and spectators.
Members of the Lakeville Pony Club and Echo the pony arrive for the costume class during the Lakeville Open in 2024.Caitlin Von Graf
For those new to horse shows, the day offers a chance to learn more about the sport and understand what happens in the ring. In equitation competitions, judges evaluate the rider’s skill, from beginners learning walk and trot to more advanced riders navigating cantering and jumping courses.
Hunter competitions focus on the horse’s style and smoothness over fences, while jumper classes emphasize accuracy and speed as horses and riders race against the clock without knocking down rails.
The day also includes a crowd favorite: the costume class, where horses and riders dress up in creative ensembles for a chance at the top prize.
Programs will be available onsite to help spectators identify competitors and horses. A full list of competitions, entry information and details for those interested can be found at rigameadow.com
Whether an experienced equestrian or simply curious about the sport, the Lakeville Open Horse Show offers a chance to enjoy a Hudson Valley tradition that continues to bring the community together.
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