INK MAGAZINE - MAY 2026

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The Cannon of Cannondale

on the Edge

I do not know what I may appear to the world, but to myself I seem to have been only like a boy playing on the seashore, and diverting myself in now and then finding a smoother pebble or a prettier shell than ordinary, whilst the great ocean of truth lay all undiscovered before me.

— Isaac Newton

A couple of years back, I received a letter from someone whose name I did not recognize. This, on its face, did not throw me. So, after placing it on the stack of mail designated as “need to get to this,” I went on with my day and then moved on to the next. It was the time of the month when we were doing our distribution, so I forgot about that letter. Life kind of stops during distribution. For us here at INK, this rotation comes between the first and the sixth of every month. We are a free magazine, you know. Every copy that we print goes out to the public, and there are never any magazines left when we return. The stacks are gone, so it is assumed that people enjoy what we are doing with this little twenty-one-year-old project of ours.

It’s a busy kind of thing, the dropping of magazines. You often forget about life and its details while carrying stacks of free paper with ink on it. For a week, the world kind of disappears. Sharing what our writers produce and what our many advertising partners offer to the public. The businesses that appear in this magazine ARE who we are, and they are also you. Retailers and service providers who work long hours and put heart and soul into their local offerings. People who start their own businesses motivated by passion, courage, and belief.

Okay, now back to that letter I received in the mail. I finally opened it. Turns out this person took the time and the stamp to let me know how much she “hates my publisher’s notes.”

Ya know...c'est la vie.

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Memorial Day Weekend

Friday, May 23 - Sunday, May 25

Bring

Saturday, June 6 - Sunday, June 7

Celebrate

Merry Merry! Barrel-Aged Celebration Ale- Fermentery Foam

What makes a special occasion different from just another night, trying to make the best of the time we are allotted on this planet? Sentimentality adds a lot of texture to the equation, but it isn’t all logged as feelings based on blissful bias. A sense of keeping tradition can be motivating, but it can often feel tedious over time. I think the best example of paying tribute to a time and place is rooted in genuine shared joy. Posing that premise to you, I offer as a beverage of the month: Merry Merry! a barrel-aged ale from the phenoms in Philadelphia that comprise Fermentery Form.

First things first, let me credit this corked non-wine offering to neighbors and dear friends Dylan and Sara. Our paths have crossed so many times that it is beginning to look more like a conspiracy theory board from the show It’s Always Sunny in Philadelphia, which is more appropriate, given that the audacious ale hails from that very city of Brotherly Love. I worked with Sara at Saltwater Farm Vineyard, and during the pandemic, I was on a company virtual happy hour when Dylan, locked out of his neighboring apartment, was invited into Sara’s space and eventually her universe. Fast forward to how this bottle found its way into the glamorous, glossy pages of Ink: they were just being considerate and brought it over as a gift for hosting our neighborhood after the drizzly 2026 Mystic Irish Parade. At that point in the day, popping this strong ale open after a great many Guinnesses and Harps had been had would have been a waste. I stored it away for an occasion worthy of this wort (the sweet, sugary liquid extracted from malted grains). May is the month my house celebrates both Mother’s Day and our wedding anniversary, so this is as good a time as any!

in-house rather than commercially produced batches) to keep a finger on the pulse of the beer as it journeys towards blending and bottling. The tasting room has the feel of a speakeasy, lit only by a green light when operational and for a few hours here and there. The hours change as rapidly as the beer selection, so any journey to these chemists of cheers-worthy beverages needs to be planned with plenty of notice.

This beer is pictured in a Teku glass, the preferred vessel for all craft beer presentations. The design hails from a nation with a great track record of enjoying libations (Italy) back in 2006. They are then produced in Germany for precision and consistency in the shape of the glass, which wine drinkers should recognize as familiar. The glass has a bowl that rises up to the entrance design, meant to help you awaken your olfactory senses before you start sipping. The stem also draws inspiration from wine glasses, aiming not to let your hands warm the ale faster than necessary.

This ale is hearty in the glass and heavenly in the heart. You will get big notes of plum upfront and dates to the finish. Resiling grapes and raisins fill in the gaps, and all is finished with warming baking cocoa and vanilla bean. Maybe even a little dark brown sugar. The finish has a funk worthy of Bootsy Collins, yet in large part due to the white wine barrels, it doesn’t finish in a frenzy but rather a flourish that feels perfect by a pile of burning leaves or limbs that the spring yard cleanup provides.

The bottle itself is ironically Irish-coded in green and white. This batch was bottled in 2024, the same year our son Tadgh (talk about Irish names) was born. The fermentation was done in a blend of white wine and bourbon barrels, so the sommelier's synapses are firing in all the right ways after every sip. Fermentary Form is an innovative bunch and uses mother cultures (yeast starters made

If you do not see a well-timed visit to this particular friend of fermentation, there are likely others closer to you that you can incorporate into your spring plans. Yet there is something to be said about chasing the rainbow for the pot of gold. Maybe an easier-to-achieve ale won’t feel as fundamentally sound. The best way to find out is to book a spot in Old City or Manyunck and make a weekend of it.

Gregory Post is a sommelier and manager at Saltwater Farm Vineyard, affiliated with Kingdom of the Hawk Vineyard.

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flash of speed, spin and whoosh streaks by...a blur electric. This is the legacy of Joe Montgomery and his brainchild, Cannondale Bicycles. In the 1970’s - when everyone and their brother were jonesing for a 10-speed and hitting the roads - the cycling sport universe was ruled by the dictates of traditional brands and firm ideas. Joe Montgomery – a visionary maverick – along with his crew of like-minded innovators struck a lightning bolt idea that became the Cannondale brand. The odyssey of Cannondale is an epic legend, torching outdated rules to revolutionize the world of cycling with audacity, vision, and shapeshifting innovation.

Back when grit and gall could ignite the spark of a startup, Joe Montgomery and his engineering cohorts co-founded a think tank for purposeful innovation...collectively pushing against the status quo to create the next big thing. This scrappy team was comprised of Montgomery, Murdoch Macgregor, John Wistrand, Jim Catrambone, and Ron Davis . Quantum ideas marinated in briny fumes and old machinery in a loft above an old pickle factory in Wilton, Connecticut – a blink from the historic Cannondale train station.

The gears clicked after Joe Montgomery took his son on a bicycle-camping trip. Back then, lots of folks were hitting the roads on bikes to tour and camp, and the only options for stowing gear was in flimsy panniers or bulky backpacks. It was a lightbulb moment: why not stow AND tow your gear behind your bike! Enter “The Bugger” –the world’s first high-performance bicycle trailer. It was Cannondale’s first product, and a never-been-seen-before game changer for the sport. All flavors of subsequent and current bike trailers for carrying kids and gear are direct descendants of the original Bugger design-engineering concept. It was a huge hit at trade shows and orders flooded in. Panniers, bags, gloves, and a tight line of outdoor accessories soon followed. This solution-oriented design and quantum leap in innovation set the tone for what the Cannondale brand would evolve into. This renegade beginning — part factory, part think tank/lab—served as the launch pad for a brand destined to turn an industry on end.

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In 1983, Cannondale launched their first Toouring Bicycle, and quietly changed cycling forever. It was the first oversized aluminum bicycle ever sold, and this funny little ugly duckling of a bike became the stuff of legend – think of the iMac of the bicycle world - Cannondale’s mark as an out-of-the box disr y..Itwasdifferent from anything else to date: it was weir ffferent, and it outperformed everything else out there. Everyone who tried it fell in love!

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As Cannondale expanded its product line, it moved manufactu operations to Bedford, Pennsylvania, re-tooling an old shoe pla y, , while the company head quarters and engineering r Wiith a hist of heavy manufacturing, this region was an ideal place to locat factory for a company with such an innovative mindset. There a ready and eager workforce already in place, with a high leve agility and willingness take on the challenges of moving the bi industry forward. This move symbolized a new era of growth and resilience. As the brand gr y, , it became an on-goin process of designing and r edesigning both the pr oducts a into instant success.

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the manufacturing practices needed to create them. Over following decades, Cannondale pushed the boundaries i manufacturing technology with their introduction of las cutters, slot + tab construction methods, and convertible – creating highly streamlined and scalable operations. O dtidth’tiliikdb r the in er e jigs

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Missy Giove, Myles Rockwell and Alison Sydor dom Woorld Championships, Olympics medals, an Am Games titles across all disciplines of the sport an Cannondale a coveted brand for MTB. On the road b the bikes saw fast success in North America. The com sored American road race teams, and athletes like Da ney and Connie Carpenter – former Olympians and f racers in the domestic race and criterium scenes.

But breaking into the tradition-bound European road bike was a tougher climb. Riders across the pond were resistan the unusual looking frames. European road racing teams w d factory yypy

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committed to time tested steel frames – lo is, until Cannondale inked a deal with the 1997. Aboard Cannondales the team imm France stages, and one-day Classics, ceme start of the era of aluminum dominance in

ours, T mediately began winning Grand T

oathtomaketheboldmovetoaluminum e powerful Saeco European pro roadteam To To o enting the brand’s reputation and markin n professional road racing.

Key to this standout success was the flamboyant sprint legend, Mario Cipollini, w led the team aboard Cannondale’s CAAD Series aluminum frames. Cipollini was ideal frontman to promote a renegade brand like Cannondale. This bad boy rocks rider was the perfect match for Cannondale’s brash branding. His presence elevat American manufacturer to a neck and neck opponent against Europe’s traditional

o peloton and solidified the CAAD series as a serious Grand T bike dominance. Cipollini’s success and superstar charisma—combined with Can

dale’s advanced aluminum engineering—helped elevate the brand’s credibility in pr Toour winning platf

Acquisitions brought fresh perspectives and resources, enabling Cannondale expand its footprint and diversify its offerings. The infusion of new talent an ideas allowed the brand to maintain its edge, reinforcing its reputation for bo design and technological advancement.

Through every setback, acquisition, and relocation, Cannondale’s identity gr The company emerged not just as a builder of bikes, but as an icon of fearless inno tion—its story told through colorful racing victories and the uncompromising pur performance. Cannondale’s journey proves that adversity and change aren’t obsta they are the engines of reinvention and the heart of itsenduringlegend.

Joe Montgomery passed away in late 2025. But the company h createdandtherestlessinnovativemaverickspirithefounde

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created, and the restless, innovative, maverick spirit he founded it upon, lives on, burning mor r. Joe’s journey was fueled by an obsession with pushing the boundaries of what a bicycle could be. He scoured the globe for inspiration, drawing from aerospace engineering and automotive design, never satisfied with “good enough.” His team at Cannondale worked tirelessly in noisy workshops, experimenting with new materials and radical frame geometries.

e brightly than ever

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Indeed - “good enough” was never enough for Joe; he demanded bikes that not only performed but shattered expectations. The fffed at by purists, soon became the envy of professionals and weekend warriors fffering unprecedented power transfer and a ride that felt alive under every pedal stroke.

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Montgomery’s bold leadership wasn’t just about engineering; it was about attitude. He cultivated a culture of risk-taking and rebellion, turning Cannondale into a brand synonymous with edgeexcitementandarefusaltosettleEveryracewinevery

Today To y, , as Cannondale r do so aboard a legacy c Thanks to Joe Montgom sport it’sathrillingad dinary riders chase victory across cont cycle built from courage and inn mery and his cohorts, cycling isn dventure, forever changed by s at dared to defy the or y. . f edge, excitement, and a refusal to settle. Every race win, every technological leap—each one carried the unmistakable signature of a man who believed cycling could, and should, be electrifyyin e ng.

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LIFE IN BLACK AND WHITE That Was Then, This is Now

by Lee Harris

If you speak with a young person today – whether they’re your kids, your grandchildren, the little smart-ass next door with his head stuck in video games who thinks you’re some old dried up alien, or someone with whom you work – do they look at you as though you have three heads when you talk about what life was like years ago when we had to suffer with black and white TVs that we had to turn on ourselves?

Truth is, back then it wasn’t just our TV sets, we all lived in black and white, and while that would send shivers down today’s young spines, we thought it was a great way to live because we knew nothing else and were so damned happy with what we had. If you wanted to color your world, it was up to YOU to do the coloring...and absolutely no one complained.

In 1960 the average monthly phone bill was $45., higher if you made long distance calls, but most people reserved long distance for letting people know bad news, or perhaps for a quick 2-3 minutes at Christmas. Now, the average cell phone bill runs about $150. per month. Sure, you can make unlimited “long distance calls,” but the value has somehow waned considerably when you can have all you want.

Back then we didn’t have fast food places; all our food was slow, well prepared, and delicious. The place you frequented most regularly was called, “At Home.” Your mother cooked every day – all three meals – and when your Dad got home from work, everyone sat down together at the dining room table and ate what was prepared. You didn’t dare leave the table to watch a favorite TV program, go to practice, see your friends, or go out and play We all ate together; and if you did have to leave, you most likely had to ask permission first, “May I be excused?” Tell a younger person that, and just watch them roll those eyes clear up in their heads!

My parents never wore jeans, I don’t think they even owned a pair, but if they had, they would have been called “dungarees” and probably only worn to do menial chores, never, ever to go out in public! I don’t think they had a credit card either. They had this strange attitude about money that most grownups also had back then. If you had enough money to buy what you wanted, you did. If you didn’t, you didn’t, or maybe you saved until you had the cash to make that purchase.

Our TV (and that’s singular, as in one device in the den; not one in every room) was a black & white model you plugged in, then waited for the three channels to come on after it warmed up. Now, everything is BIG and instant: LED, Smart TV, Roku; and as wonderful and modern as they are, you can’t just plug them into the wall straight out of the box. You need a degree in electrical engineering to get it operational, or perhaps a nine year-old living down the street.

I had a blue and white Schwinn bike that weighed almost as much as I did. It had to be braked by my own front/back effort on the pedals, and it had only one speed...slow. But it was transportation, represented independence for me, and I loved it. Because I treasured what I had, I took good care of it, never threw it on the ground nor left it out in the rain. I shined it up every day and loved wherever it took me, dependent solely upon the power of my own legs.

Those days were about appreciation, not about amassing “stuff.” So it followed that when you really worked and saved for something, you valued it more We valued people more as well back then. We spoke more kindly to one another, waved at motorists with a full hand and not an extended finger, and the only four-letter word you ever heard in a movie was “love.”

As the population ages in every generation, the older folks always speak of “the way it used to be” as being the best of times. For them, it was, but there’s also something to be said for today, because that’s where we live now with precious black and white memories.

Still, a bit of color never hurts.

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with the attentive and energized individuals sitting before me and am put at ease in much the same way the artists themselves have been encouraged to create something authentic and beautiful in the conversation that has begun that can continue in homes and galleries, theaters and workshops, in individual reflection or together hashing out what I have just experienced for myself.

The film’s artists speak clearly and eloquently. Marc Anthony Massaro who owns Branford Art Studio in Branford, CT begins with presenting a challenge to the audience, “If artists have the power, then the obligation is to pursue that.” Abbriella LaFountain, who calls herself Abby, a tattoo artist from North Scituate, Rhode Island says in earnest, “You have to be willing to do something that has never been done before. You have to be willing to fail.” Gracia Hemans-Martin, a leathersmith, originally from Jamaica and now working in her shop Grassilini Creations in East Hartford, CT relates, “No passion, don’t touch it. If you have passion, that’s all you need.” These words have the power to encourage, astonish and inspire just like the words of the reviewer and the artists who embody how moved they have been to act on their own inner yearnings.

Another filmgoer had the following observations: “Your documentary impacted me profoundly. I was excited to see it, and knowing you, I knew it would be a creative and cool experience. As it started, what hit me immediately was the beauty of the production. The cadence, the music, the flow, the lighting - it was mesmerizing. But it was still something I was watching “over there”. It was about these characters - interesting characters, no doubt - but not about me. Somewhere (and honestly, I don’t even know at what point this happened, it kind of snuck up on me) it hit me that I was feeling my own creativity come back to life. Now, you should know, I don’t consider myself an artist. I don’t paint, I

don’t draw, I don’t sculpt or build or craft. I don’t sing or play an instrument or dance. I often joke that my contribution of beauty to the world is that I make cute children. But something about this film made me feel creative again. Not that I was going to pick up a paint brush or anything. But more like I wanted to take the things I was already working on (especially with regards to a business I recently started) and give all of myself to it. I suddenly felt like there was something more to art than just the tangible creations. It’s something bigger, more impactful, less quantifiable. It’s living life in a way that is purposeful and beautiful and exciting and interesting. Because the impact that creates is huge, and it’s so needed in this world. It rehabilitated some purposes I had lost sight of. For that, I am very grateful. This film needs to be seen by every artist. And also, by all the people out there like me - the people who don’t consider themselves artists but are able to create an impact nonetheless.”

When asking Alex and Mark for their personal influences I was interested in matching their answers to what I had experienced in Outliers. Martin Scorsese’s intimate portrayals of the human condition and dynamic camera moves in the likes of Raging Bull, Taxi Driver and Goodfellas matches what Mark has accomplished in being an unobtrusive but palpable presence in the studios and workshops of the artists on the part of a camera man. Alex’s fascination with Dark Side of the Moon by Pink Floyd was no surprise as the music crescendo and retreat evoked deep connection and

magic throughout the film’s progression. One of the final scenes of banjo, cello, violin and guitar music in a segment that portrays a music accompaniment at a wet plate Jamboree is brilliantly orchestrated.

Some words that made an impact on Alex were the following from David Bowie: “If you feel safe in the area you’re working in, you’re not working in the right area. Always go a little further into the water than you feel you’re capable of being in. Go a little bit out of your depth. And when you don’t feel that your feet are quite touching the bottom, you’re just about in the right place to do something exciting.” For Mark, he had a few choice quotes: “What we do in life echoes in eternity.” (Gladiator, 2000) “The universe is change; our life is what our thoughts make it.” (Marcus Aurelius, Meditations) “The only true wisdom is in knowing you know nothing.” (Socrates)

These men have worked together for the past four years mainly on this film. They have other projects in the works. It is their first effort jointly. Alex chose Mark after seeking a partner and filmmaker after viewing one of the artist’s in the movie, Jamie Lundell, a bladesmith filmed by Mark. He was impressed with his work. Mark talks about integrity in our conversations: “Going in with just wanting to tell a good story that is honest is our only agenda. We don’t want to contrive words from our subjects or have them do anything unnatural. I think it’s important to let go of any preconceived notions and ideas, act as if you know nothing about

the person or topic, be open to give freedom to our characters preserving relationships are es keeps that all together. “

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INDELIBLE INK

a book review by

Laurencia Ciprus

"Twice" by Mitch Albom... Exploring Second Chances

M

itch Albom knows exactly why readers come back to him: he takes scary, looming, —often frightening— questions about life and wraps them up as stories that people genuinely want to read. Twice leans into that instinct with confidence. Albeit the novel is built around the classic secret wish—getting a do-over—Albom is far more interested in the emotional mess that follows than in the magic that makes it possible.

The setup is simple and effective. Alfie, a likable man who feels just slightly out of step with his own life, discovers he has the ability to revisit and rewrite pivotal moments from his past. Albom doesn’t flood the story with weighty rules or mythology. The point isn’t how the second chance works; it’s what Alfie opts to do with it—and what those choices reveal. Almost immediately, the novel turns the fantasy inward, asking not just what you would change, but why you still want to.

Alfie makes an easy companion to like. He’s funny, selfaware, flawed, and carrying around the low hum of dissatisfaction that many people recognize. He isn’t desperate to reinvent himself; he just wants things to make sense. As he revisits old moments—conversations, decisions, hesitations—he learns that even the smallest tweaks can ripple outward. Albom is good at showing how minor choices rarely stay minor, and how fixing one regret often exposes another.

The supporting cast keeps the story moving and grounded. Alfie’s best friend, Sam, brings speed and humor to the page. His jokes aren’t just comic relief; they function as a defense mechanism, honed by years of knowing Alfie well enough to recognize when he’s drifting into his own head. Then there’s the mysterious figure who guides Alfie through his second chance—quiet, watchful, and firm about one thing: revision doesn’t erase responsibility. That reminder hangs over the book in useful ways.

Dialogue is one of the novel’s strengths. Conversations feel lived-in. Characters are believable—they get angry, are loving while guarded, yet are vulnerable. They interrupt one another, dodge uncomfortable truths, and say more through humor than confession. Albom understands how people talk when they don’t quite know what they’re feeling yet, and that understanding infuses the story with a natural rhythm that keeps even introspective moments from bogging down.

Albom also uses setting with intention. Smoke-filled casinos, childhood bedrooms, bustling streets—each space reflects where Alfie is emotionally. The casino scenes crackle with tension, underscoring the difference between luck and choice. Chance may offer possibility, but it doesn’t make decisions on your behalf. That idea sits at the heart of Twice.

Central to the book is a beat-up composition notebook that allows Alfie to rewrite moments from his past. It’s a smart, grounded object—ordinary enough to feel real, dangerous enough to spark temptation to misuse it. The notebook becomes a reminder that memory isn’t just a record; it’s something we actively shape, sometimes to our own advantage.

Much of the novel’s emotional pull comes from Alfie’s lingering, unreciprocated love for a woman just out of reach. Albom treats this storyline with restraint and empathy. The ache feels familiar: the optimism that is stretched too far, the quiet internal bargaining, the embarrassment of caring more than someone else does. The story isn’t about winning love back; it’s about learning what self-respect looks like when love doesn’t cooperate.

Beautiful small touches add texture along the way, including an elephant named Lallu, whom Alfie encountered during his childhood in Africa. Lallu resurfaces periodically as a symbol of purity, wonder and memory. Albom wisely resists the urge to overplay this literal "elephant in the room" The metaphor works because it remains light, reminding readers how easily adults talk themselves out of believing in the things that once dearly mattered.

To keep Twice from drifting into pure nostalgia, Albom adds pressure to the cadence through Detective Vincent LaPorta who links past and present. Albom slowly reveals LaPorta's own interior conflicts, that intriguingly compare and contrast with Alfie's. The evolving dialogue between the two develops into a compelling parallel narrative of its own.

At its heart, Twice isn’t about correcting mistakes—it’s about understanding them. Albom sidesteps tidy redemption arcs and easy lessons. Alfie grows and matures quietly and unevenly, the way people actually do in self-discovery. The result is a novel that feels reassuring without being simplistic.

For longtime Mitch Albom readers, Twice offers familiar warmth with a refreshing, faster pace. It’s compact, readable, and emotionally generous. It’s the kind of novel that lingers quietly, resurfacing later in unexpected ways—during moments of hesitation, reflection, or self-doubt. Albom doesn’t ask readers to believe in miracles so much as attentiveness. In that sense, Twice feels less like an escape and more like a gentle nudge toward clarity, reminding us that meaning is rarely hidden—it’s usually just ignored.

You close the book not wishing for a rewrite of your own life, but more aware of how much power exists in focusing attention to the one you’re already living. Twice is a brilliant escape and an uplifting read to add to the nightstand stack!

The Cheesemonger

Deana Simmon, The Cheese Shop of Centerbrook

Don’t Rush the Rind

From Fridge to Fabulous – letting your cheese breathe.

Letting cheese sit out before you eat it is not just a “fancy cheese shop rule” it changes how the cheese tastes, smells and feels. There’s a moment between pulling a piece of cheese from the fridge and taking a bite where all the difference happens. Most of us skip it. We grab a piece of cheese and think,“yeah, that’s good” but the truth is, we’re only tasting a fraction of what that cheese has to offer. Cold cheese is quiet. It holds back. Cheese needs time to come to life. When cheese is cold it slows all the flavor down and can leave you with a lackluster experience.

Let’s look at what happens or what doesn’t happen when cheese is cold.

• Fat firms up and holds on to flavor

Cheese is full of fat and fat carries a lot of flavors. When cheese is cold the fat solidifies and slows everything down, tightens everything up, and you can’t taste the flavor as well. As the cheese warms up, the fat softens, melts slightly and releases the flavors so you can taste them.

• Aroma doesn’t travel in the cold

A lot of what we think is taste is really what we smell. When cheese is cold aromatic compounds (from fats & proteins) are less volatile – they move slowly, they don’t evaporate into the air. No evaporation = nothing to reach your nose. Even the air around the cheese matters. Cold air holds onto aroma molecules instead of releasing them. Basically, cold cheese doesn’t give off much aroma because nothing is moving. Warm or room temperature cheese lifts those compounds into the air so you can smell them (and taste) much better.

• Your taste buds are less responsive

Cold temps dull your taste buds. The flavor is released slowly, and it doesn’t spread across your palate as easily. So even though the flavors are there your taste buds are less sensitive to them. As the cheese warms up the fat softens and the flavor compounds are released on your tongue. That’s why room temperature Brie will have a rich, buttery taste instead of a dull one.

• So how long should you let your cheese rest before digging in?

This isn’t about letting cheese get warm, it’s about letting it reach the right temperature. Most cheeses show their good sides between 60- and 68-degrees F. That’s where the aromas, flavors and texture all balance. In most homes, that means approx. 30-60 minutes on the counter depending on the style and the size. For example, an extralarge piece of Beemster XO could take up to 90 minutes whereas a smaller piece of Fromager d’Affinois could take 30 minutes or less.

The bottom line is cold cheese locks in the fat, the aromas are trapped, the texture is tight and your taste buds are unresponsive. Give your cheese a chance to take the chill off and wake up. Some time and patients’ turns good cheese into something unforgettable. The best flavors aren’t rushed, and your cheese is totally worth it.

Deana Simmons

The Cheese Shop of Centerbrook

Background

here is something about Artist Arlene Piacquadio’s encaustic paintings that makes most people want to touch them - and that’s okay with her.

“I’m the only artist in the gallery that will say to a customer, ‘Come, let’s touch it,’” said Piacquadio, referring to the Artists’ Cooperative Gallery of Westerly (ACGOW) in Rhode Island, which is located in the train station.

The ancient process of encaustic painting involves combining hot wax and pigments and using them on a substrate that absorbs it, she explained at her spacious, post-and-beam home surrounded by works she created. “And that’s why the (ancient) funeral mass (portraits) were on wood.”

This art form was first created over 2,000 years ago in Greece. “Greek artists were using wax paint to adorn sculptures, murals, boats, and even architecture,” according to https://encausticpaints.com/pages/ history-of-encaustics. After the art spread to Egypt, the website states that artists began incorporating encaustic paint into their mummification process, as well as “the very life-like Falyum Mummy Portraits of Egypt.”

Piacquadio’s encaustic art adventure began after she and her husband, Peter, moved from Pomona, New York (Rockland County) to Westerly in 2012. “I decided, ‘New place, new town, new environment, new medium.’”

The former oil painter took a weekend encaustic painting class at the Rhode Island School of Design (RISD). “I was energized and so excited. And so, I began. And that was the time that I decided that I was going to get involved with ACGOW, which she joined in 2013 showing her early encaustic work as an associate member (which did not require a jury process).

Soon, Arlene said she was being encouraged “to step it up, get five pieces together and ask to be juried in.” All this quickly happened. She also became ACGOW’s president in 2014 - re-elected three more times for a total of eight years.

“Playing” with Encaustic Paint

Arlene said she was intrigued by what she was learning at RISD. “It was taking this crazy material (hot wax) that I had never even dreamed of working with and then using all of these other kinds of things like ink, pastel, paper, collage work. It was like combining everything that was

“Sicilian Seas Blue and Green.” “It’s blue, it’s green, it’s dark, it’s light. This is what the Sicilian water looks like,” Encaustic Artist Arlene Piacquadio said.

by Arlene Piacquadio

fun into this one big process. So, it’s not just taking a paint brush, although you can…You can combine it with something else and make it look so interesting.”

She continued learning and growing by attending an International Encaustic Conference in Provincetown, Massachusetts. There, she met Paula Roland who teaches weeklong encaustic workshops in Sante Fe, New Mexico. Beginning in about 2016, Arlene participated annually for several years in Roland’s workshops.

“I learned so much from her. I learned more about layering and colors and what happens if you do this and what happens if you do that. She was very, very giving. I think that was the springboard for me to jump into my own skin with encaustics.”

She added, “I was so gung-ho. I was hungry to learn, and this just satisfied my hunger. And then I think I exploded. It was like anything goes. Experiment, experiment, play, play, play. You know, I always tell artists, ‘If you feel stuck, just play. Just have fun and see what happens.’”

Asked about the role chance plays when working with heat, wax and layered materials, “It’s 100 percent,” Arlene said laughing. “You have no idea what’s going to happen. So, if you’re an artist who loves to control everything, this is not the medium for you.”

She explained that creating encaustic art requires “going with the flow.” If she doesn’t like the outcome of a piece, she said she sometimes shows it to others to see their

reactions. “And I get to sit with it longer.” Other times, Arlene scrapes everything off and begins again. Or she’ll add or remove a layer, which is all part of the process.

Adding layers to a piece adds to the direction she is going in, she said. However, each layer must be fused, “which means that you take your torch out and you heat it up. Because if you didn’t do that, it wouldn’t be archival; it wouldn’t stay. So, it’s a very interesting technical process that has to be done correctly.”

Arlene said she knows a piece is done “when there’s nothing more, I want to do to it. It’s speaking to me, in other words…It’s in your soul. It’s in your heart. It’s like you look at it and you just say, ‘It’s done.’”

She usually begins her artistic work mid-morning and works fast for about two hours - during which time she may complete a piece. “But I normally work on more than one piece at a time...because it’s fun.” Sometimes, there are parts of the process that need to cure for a while.

Concepts for Arlene’s work come from many sources: dreams, shadows, sunrises, sunsets, nature, traveling with Peter, their photographs, research, inspiration from other artists’ works and the spiritual realm.

Pointing to an abstract encaustic painting, “Woods in the Sunrise” hanging on their wall, she said her husband purchased it a few years ago at an ACGOW gallery, even though she would have given it to him for free. Though frustrated that he purchased it, she said, “That was so heartfelt that he loved it so much.”

“What attracted me from a distance was her use of a little red spiral,” Peter said. “It was the first time I saw her going in this direction...I liked the way it looked.”

The Process

Arlene’s process to create encaustic pieces usually begins with a wooden panel board, which comes in many different sizes. She then applies a minimum of three layers of clear, encaustic wax. However, if she wants a white or lighter background, she will paint her board with gesso (which resembles white paint), which is a “ground,” a “medium that accepts other mediums.”

“That’s it. That’s the beginning. You have to do that for every single piece.”

She periodically creates texture using a process called “accretion,” which looks similar to when you splatter candle wax on your table.

There are two ways to accomplish this, Arlene said. “One is with clear wax and covering it with a colored oil stick. The other is with beeswax already mixed with pigments.”

Additional colors can be added. “I mean, it’s crazy. You can see, it’s endless.”

After it’s dry, she takes a soft cloth and rubs it to make it shine.

Occasionally, she shellacs pieces (which must have pigment in them) to create an organic effect, which “will give you what is called ‘cells.’”

Arlene stressed shellacking with a blow torch is a little dangerous. “It’s like flambéing something on the stove...It’s scary.” Asked why she doesn’t protect her face, she admitted, “I’m a little dangerous in this studio. I’ve had a little fire. It wasn’t much and I put it out. “

As the years have progressed, she said different kinds of processes have been added to encaustics. “One of them is called monotype.”

Below: Arlene Piacquadio’s encaustic assemblage entitled “Napatree Remembered” is about the 1938 Hurricane at Napatree in Westerly, Rhode Island that blew away all the buildings and killed about 15 people, according to https://seewesterly.com/surviving-the-hurricane-of-1938-part-1/. Pointing to the wood grain that looks like stormy weather with a yellow sky (which preceded the hurricane), Piacquadio said this is why she prefers a clear wax on the wood instead of applying gesso, which resembles white paint. Photos by Jan Tormay

“Deep Dive” encaustic painting by Arlene Piacquadio of Westerly, Rhode Island. “That took such a long time to make. That is layers on layers and layers and layers,”said Piacquadio, adding this is a piece she will show, but not sell. “And so if you look at it, it’s like you’re going underwater. And you see the green on the other side? It’s sort of like you’re coming out through the weeds and then there’s bubbles...I love this piece.”

Piacquadio

This involves working on a heated aluminum palette and creating the artwork directly onto the palette with wax and pigments. The next step is to lay a heavy-weighted paper on top of the work and burnish the back of the paper to absorb it onto the paper. “When you peel the paper off the aluminum palette, that is the printed monotype. The front of the paper

becomes the work of art,” she said, adding that a ghost print can also be made with what is left on the original. “It’s not the same, obviously.”

Curious artists should be intimidated by encaustic painting, she said, “because you’re using a flame and hot wax; you need a specialized space with very good ventilation.” Her advice is to start slowly. Look at some YouTube videos, join a class, buy some materials. Experiment, play.

“Make some things that look horrible…It would be the same process, whether it would be encaustic or oil painting or watercolor painting.”

The Journey

Arlene began creating abstract oil paintings in 1966 while studying at Ohio University. Two years later, she transferred to Marymount College in Tarrytown, New York, graduating in 1970 with a bachelor’s degree in fine arts with a minor in Education.

Reflecting on selling her paintings in college to support herself, she said it was her first introduction into what it was like to create something that others actually wanted and would pay for. “It was very hard for me to sell stuff because I didn’t have a lot. And it was like giving away a child. It was so precious to me.”

Arlene still feels that way today about some of her work. She sells some of her creations, while others she’ll just show with a “gigantic price tag” or “Not for Sale” sign on them. “So I keep some of the ‘children’ around.”

After graduating, Arlene taught art for three years at Haverstraw Middle School, located in New York’s Hudson Valley and then opened an eclectic boutique called “The Sunwise Turn” on MacDougle Street in Greenwich Village that featured clay jewelry she made, as well as vintage items. After two years, she switched careers and became a mental health worker. Arlene went on to earn a master’s degree and Professional Diploma in Psychology from Fordham University and worked as a counselor for the government in Rockland County for 20 years - while continuing to create art.

She credits her “amazing” third-grade art teacher, Mrs. DeVico, with having a significant influence on her life - encouraging her throughout her elementary, middle, and high school years. DeVico also helped her put her portfolio together when she was applying to colleges.

Arlene said she hopes her work emotes some kind of feeling in others and that they see something in it that maybe somebody else didn’t see. When someone loves her paintings, she said,

“It’s just like the best feeling in the world.”

And when people come up to her and say they collect her work, she said, “It makes me cry.”

Piacquadio’s work can be viewed monthly at ACGOW, located at the train station at 14 Railroad Ave. in Westerly, Rhode Island. Hours: Open Wednesday through Saturday from 11 a.m. to 7 p.m., Sunday from 1 to 5 p.m., closed Monday and Tuesday. For more information, go to www.westerlyarts.com or email ArlenePiacquadio@hotmail.com.

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