Dear EarthTalk: Isn’t it a waste that we buy water in plastic bottles when it is basically free out of our taps? Even health food stores, which should know better, sell it like crazy. When did Earth’s most abundant and free natural resource become a commercial beverage?A. Jacobsvia e-mailBottled water has been a big-selling commercial beverage around the world since the late 1980s. According to the Worldwatch Institute, global bottled water consumption has more than quadrupled since 1990. Today Americans consume more than 30 billion liters of water out of some 50 billion (mostly plastic) bottles every year. The Beverage Marketing Association reports that in 2008 bottled water comprised over 28 percent of the U.S. liquid refreshment beverage market. The only bottled drinks Americans consume more of are carbonated sodas like Coke and Pepsi.And frankly, yes, it is a ridiculous waste that we obtain so much of our drinking water this way when it is free flowing and just as good if not better for you right out of the tap. According to the Earth Policy Institute (EPI), some 2.7 million tons of petroleum-derived plastic are used to bottle water around the world every year. “Making bottles to meet Americans’ demand for bottled water requires more than 1.5 million barrels of oil annually, enough to fuel some 100,000 U.S. cars for a year,” says EPI researcher Emily Arnold. And just because we can recycle these bottles does not mean that we do: The Container Recycling Institute reports that 86 percent of plastic water bottles in the United States end up as garbage or litter.The financial costs to consumers are high, too: According to the Environmental Working Group (EWG), bottled water costs up to 1,900 times more than tap water. And the Natural Resources Defense Council (NRDC) reports that 90 percent or more of the money consumers shell out for it pays for everything but the water itself: bottling, packaging, shipping, marketing, other expenses — and, of course, profits.EWG is particularly appalled at the lack of transparency by leading bottled water sellers as to the sources of their water and whether it is purified or has been tested for contaminants. According to a recent survey by the group, 18 percent of the 173 bottled waters on the U.S. market today fail to list the location of their source; a third disclose nothing about the treatment or purity of the water inside their plastic bottles.“Among the 10 best-selling brands, nine — Pepsi’s Aquafina, Coca-Cola’s Dasani, Crystal Geyser and six of seven Nestlé brands — don’t answer at least one of those questions,” reports EWG. Only Nestlé’s Pure Life Purified Water “discloses its specific geographic water source and treatment method … and offers an 800 number, website or mailing address where consumers can request a water quality test report.”EWG recommends that consumer resist the urge to buy bottled water and go instead for filtered tap water. “You’ll save money, drink water that’s purer than tap water and help solve the global glut of plastic bottles,” the group advises, adding that it supports stronger federal standards to enforce consumers’ right to know about what’s in their bottled water besides water. Until that day comes, concerned consumes should check out EWG’s Bottled Water Scorecard, a free website that provides information on various bottled water brands, where they originate and whether and how they are treated to remove contaminants.Dear EarthTalk: I heard someone say that the environmental benefits of natural gas for electricity generation were overstated and that it is not as green-friendly as the industry would have us believe. What is your take on this?D. MontcalmBrewster, N.Y.In our increasingly carbon-constrained world, natural gas (also known as methane) does keep coming up as a potentially cleaner fuel source for electricity generation than coal, currently the nation’s primary source of electrical power. Natural gas advocates argue that it generates 50 percent fewer greenhouse gases than coal when burned. And since natural gas is more widely available than ever, thanks to newer more efficient — though in some cases environmentally damaging — extraction techniques, some think it should be playing a larger role in a transition away from coal, the dirtiest of all fossil fuels. Today more than 50 percent of electricity generated in the United States comes from coal; natural gas accounts for less than 20 percent.But scientists aren’t so sure natural gas should play any part in solving the climate crisis. A 2007 lifecycle analysis of natural gas production, distribution and consumption found that when one factors in the total emissions associated with not only the end use of natural gas but also its extraction and distribution — much of it can leak when it is pulled out of the ground and then piped to power plants and other customers — it doesn’t seem so much cleaner than coal after all.The U.S. Environmental Protection Agency (EPA) says that loose pipe fittings and intentional venting for safety purposes on natural gas lines cause annual greenhouse gas emissions rivaling that produced by 35 million cars each year. The World Bank estimates that emissions from natural gas extraction operations alone account for more than a fifth of the atmosphere’s total load of climate-changing methane.“When scientists evaluate the greenhouse gas emissions of energy sources over their full lifecycle and incorporate the methane emitted during production, the advantage of natural gas holds true only when it is burned in more modern and efficient plants,” reports Abrahm Lustgarten on the investigative news website, ProPublica. “But roughly half of the 1,600 gas-fired power plants in the United States operate at the lowest end of the efficiency spectrum.”He adds that, while the median U.S. gas-fired power plant emits 40 percent fewer greenhouse gases than a typical coal plant, some 800 inefficient plants offer only a 25 percent improvement. The fact that methane is an extremely potent greenhouse gas — the EPA says methane is 20 times more effective trapping heat in the atmosphere than carbon dioxide (CO2) — makes it even less appealing as a replacement for coal. “The problem is you build a gas plant for 40 years,” James Rogers, CEO of Duke Energy, one of the largest power companies in the United States, told ProPublica. “That’s a long bridge. What if, with revelations around methane emissions, it turns out to be only a 10 or 20 percent reduction of carbon from coal? If that’s true, gas is not the panacea.” Rogers himself is an advocate for limiting greenhouse gas emissions.But with the Obama administration still keen on mining domestic natural gas reserves versus upping our reliance on foreign oil, natural gas will likely continue to play a role in the energy mix for some time yet. EarthTalk is written and edited by Roddy Scheer and Doug Moss and is a registered trademark of E - The Environmental Magazine (emagazine.com). Send questions to earthtalk@emagazine.com.
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Textile designer Justine Valla sits in her father’s chair, which she painted, alongside her husband, illustrator and muralist Victor Valla, in their Atelier Valla studio.
“I was always drawing as a child,” Justine recalled. Victor dreamed of illustrating magazine covers like those of the “Saturday Evening Post.”
Victor studied design and illustration at Rochester Institute of Technology, then received a fellowship to study painting and printmaking at the University of Illinois at Urbana-Champaigne. He graduated in 1967. The following year, he received a grant from the Tiffany Foundation to study printmaking in Paris at Atelier 17, an experimental graphic arts workshop founded in 1927.
“What a great experience that was!” he recalled.
Returning home after the Paris uprisings of 1968, he discovered that the magazine covers he’d hoped to paint had largely given way to photography. His agent suggested trying record covers, which he pursued along with illustration and graphic design.
He also began teaching at Kean University in New Jersey.
“Kean had a wonderful graphic design and illustration department. I loved teaching Graphic Design, even though I never thought I would.”
He later taught at Syracuse University and Pennsylvania College of Art and Design.
In the late 1980s, he decided to stop teaching and concentrate on his own art. He moved to Falls Village, to a house on the corner of Minor and Prospect Streets.
“I used to call the studio ‘Minor Prospects Atelier,’” he said.
He continued working in illustration and graphic design, creating book covers for stories by H.P. Lovecraft and other authors, along with magazine covers, logos, advertising and murals.
Justine and Victor Valla in their studio with a painting of Victor’s,”Jonah and the Whale.” Robin Roraback
His local commissions include the green and gold Noble Horizons signage and wall murals for the Stockbridge Inn, the Spa at Norwich Inn, Orchards Hotel in Williamstown and the David M. Hunt Library’s children’s section.
Justine grew up in the Bronx and studied at the Fashion Institute of Technology. After graduating, she took on whatever work she could find, including designing toys and novelty items for Russ Berrie. But her true calling was textile design.
She moved to Los Angeles to pursue that calling, where she learned silkscreen printing from 1960s design icon Corita Kent.
“I was in her program at Immaculate Heart College. All fabric design at that time was silk screen. My first job in textile design was in L.A., creating wallpaper for Bob Mitchell Design.”
Justine returned to New York City, where the advent of computers required her to learn new design techniques. She enrolled at Parsons School of Design, studying Photoshop, Illustrator, Lectra U4ia and Kaledo.
Around this time, she met Victor online and moved to Falls Village.
A recruiter found her a job in Arkansas at Dillard’s, a department store chain operating in 30 states and known for its exclusive designer collections.
“They had the best equipment I’d ever seen,” she said.
She became a senior computer-aided design designer there, designing fabric and preparing purchased designs for production.
The Vallas left Falls Village for Little Rock.
“It was a big move,” she said. “It was a different culture, but Little Rock was very progressive.”
The originally planned to stay in Arkansas for five years but ended up remaining for nearly 10.
Then Justine was hit by a car. She suffered injuries to her leg and head and required four years of rehabilitation.
“I lost the ability to paint after the accident. I struggled to paint again.”
The Vallas returned to Connecticut, this time settling in Salisbury, where they’ve lived since 2013.
After leaving Dillard’s, Justine had planned to sell her work through Printsource in New York City, an international showcase for surface and textile design. But after the accident, she no longer had the mobility or energy to travel back and forth to the city.
Instead, she began selling her work locally at craft shows, including clothing, hand-printed tea towels and floorcloths.
She is currently working on selling her collection of textile designs.
In December, Justine will have a show of her tea-themed watercolors at the NorthEast-Millerton Library.
Victor recently exhibited “The American West: A Pictural History” at the NorthEast-Millerton Library. The series, created in the early 1990s, was part of a commission from the Postal Commemorative Society for which he completed 100 paintings in two years.
He hopes to place the series in a museum and has created books from its images, complete with text. Over the years, he has designed many other books that are ready for publication, including “Looking In, Looking Out,” a cosmic view of the universe.
Reflecting on his career, Victor said, “It’s about doing what you love”.
Justine agreed.
To see, purchase or commission work, contact Justine at justinevalla@gmail.com or Victor at victorvalla@comcast.net, or call 860-596-4282.
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Jane Herold’s beautifully simple dinnerware.
Cornwall ceramicist Jane Herold explained that there’s quite a lot of enthusiasm for Clay Way among the region’s ceramic artists.
“We all need work space, which is hard to find or afford in urban areas. The wood-fire crowd needs lots of wood and outdoor space. This area is great because it’s rural enough for us, but has a wonderfully enthusiastic and supportive population of pottery [patrons].”
While many of the artists are returning from previous years, the loose collection of unofficial organizers likes to keep the event manageable for the public, limiting the number of artists and studios each year. A direct drive from the southernmost point at Ann Heywood’s studio in Wingdale to Herold’s big barn in Cornwall is under 40 minutes. But if you want to catch it all, plan for a full day’s worth of art exploration along some of the most beautiful roads in New England.
Starting at its northernmost point, Herold’s studio will host Matin Malikzada of Afghanistan, whose polished, modern interpretations of traditional forms are instantly recognizable. They’ll be joined by wood-fired ceramicists Steve Johnson, with his raw, organic forms, and Harry Levenstein, whose works relate closely to Johnson’s while making even more direct references to nature.
Herold herself creates work that is both beautiful and utilitarian. Her prolific output of objects is intended to be used by everyday people as part of their daily lives.
Moving south is Todd Piker of Cornwall Bridge Pottery. Piker has been making pots in his giant wood-fired kiln since 1971. The kiln looks more like an ancient blast furnace than something designed to transform clay into ceramics, but over the years, he’s mastered its intricacies and produces an impressive amount of fine work.
A ceramic vase by Kathleen Heidemann.Provided
Piker will host Sanah Peterson, who works at Cornwall Bridge Pottery and draws inspiration from both her time with Piker and her time traveling the globe as a child. They’ll be joined by Stephanie Haines, whose vibrant, eye-catching work features underglaze illustrations of birds, fruit and the bounty of nature.
Further along in Warren, Jessica Dubin’s pieces will be on display at the studio of Christine Owen. Both artists seem to appreciate the chaos and unpredictable nature of clay but find ways to refine it all using their own unique methods.
Heading east to Washington, Conn., Will Talbot’s creates intricate work while allowing for the unpredictable nature of clay to play a role. His studio will house Tom Knox and his wide variety of textures and forms, as well as New York City-based Alex Lebedev, who lets music and the nature of improvisation guide his work.
There will be two studios participating in South Kent. Alison Palmner, whose page on the Clay Way website states she “strives to achieve a lighthearted meld of human forms, animals and the vessel.” Her studio will host Ben Eberle, who trained under the guidance of legendary potter Toshiko Takaezu; James Guggina, whose intricate work can appear both deliberate and whimsical; and Paula Shalan, who blends rough, unrefined surfaces with polished precision in individual pieces.
Joy Brown’s delightful ceramic sculptures.Provided
Nearby is Joy Brown, whose work have become a staple of the area, with her figurative sculptures dotting the Northwest Corner. Brown’s studio will also feature Bonnie Levine, who taps into the beauty of chaos and destruction in her work, and Brendan Moore, whose more utilitarian forms are perfect for everyday use.
Finally, the tour crosses the border into Wingdale, New York, where the studios of Drew Montgomery, Ann Heywood and Amy Brenner will host Jackie Sedlock, Lynn Behrendt,and Kathleen Heidemann.
Brenner creates some of the most colorful and vibrant pieces on the tour, while Behrendt’s work is among the most studied and precise. Heywood creates carefully considered, intuitive forms, while Heidemann moves from simple minimalism to intricate textures. Montgomery and Sedlock both find new ways of playing with traditional forms, producing delightfully distinctive pieces.
To learn more about the artists and download a map of participating studios, visit clayway.net
Matteo works as the ever-enthusiastic auctioneer, and he puts on a real show. In just a few hours, he presents and sells hundreds of items, from antique furniture and rugs to art and decorative items, even taxidermy, jewelry and other odds and ends you probably wouldn’t expect. Community is part of the show, with Matteo joking around with regulars. Attendees congratulate each other on their purchases, and even educate each other about the items as matteo keeps the momentum going. If items aren’t moving, Matteo will remind the room that he’s got alimony to pay, and it’s up to everybody in the room to help him raise the funds.
For the past 15 years, this has all happened in that highly visible building at the main intersection in North Canaan. Now, Mattea, Kolbacher and their Stateline Auctions crew have moved off the beaten path. For some frugal bidders, this might seem like a good thing. After all, the fewer people who know about the auction, the fewer people they have to bid against when their lots come up.
Hundreds of items at Stateline Auctions, including a candy-apple-red Crosley pickup truck.D.H. Callahan
Unfortunately for those who consistently show up, the competition these days is less in the room and more online. Stateline has been running simultaneous auctions through the real-time auction website and app LiveAuctioneers.com, where the entire event is streamed live. Throughout the eight-hour event, the online viewership rarely, if ever, dips below 600 individual users. This technological development creates more potential buyers for Stateline and also allows busy bidders to keep an eye on their lots while out and about.
The new space, still in North Canaan, just barely south of the Massachusetts border, is a sizable warehouse packed to the ceiling with precious finds. It’s bigger, brighter and has ample parking.
The auction on Oct. 11 featured all kinds of lots, including three cars. A candy-apple-red Crosley pickup truck grabbed every eye in the room and even more attention online. Amid all the enthusiasm, it was heartwarming to witness the entire audience erupt in applause as young bidder Molly Seitz burst into tears after winning the truck. The beautiful vintage vehicle had belonged to her grandfather, who had given her driving lessons in it before he died.
Between resellers, collectors and the casually curious, the performance that is a Sunday at Stateline Auctions is a delightful way to breathe new life into old items. There’s rarely a set date for the next auction, but it generally takes about six weeks before they’re ready with their next round of goods. This time, Matteo predicts a sale after Thanksgiving, but if you want to be safe, follow their auction on liveauctioneers.com.
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