Here in Connecticut this unusually warm winter has turned into an early spring. My thoughts have been wandering.  Lately I find myself day- dreaming about warm sunny days, deck parties with friends, and swimming in cool Maine waters. At our house, Rick is the gardener AND the cook, so his spring dreams run a bit more towards the culinary side this time of year.  This year he has been especially focused on trying out some new heirloom varieties. We have learned so much about the importance of preserving our food diversity over these last few years, and this year Rick wanted to really put his new found knowledge to the test. We found so many great on-line and print catalog sources for organic and heritage seeds and plants complete with instructions. 

One of our best discoveries this year was purely accidental. Last weekend a Sunday drive led us to the most amazing place in Old Weathersfield, Connecticut that has been producing seeds for New England gardeners since 1811.  Comstock, Ferre & Co. (www.comstockferre.com) offers 250 varieties of open pollinated non-GMO seeds. The floors were old wide plank with rows and rows of paper seed packets.  I think there must have been 50 different varieties of tomato seed alone.  We came home with enough seeds to keep us in vegetables for ten years!

In addition to Comstock Ferre & Co. , we have a surprising number of great resources are right here in New England including the High Mowing Seeds (www.highmowingseeds.com) located in Wolcott, Vermont  and Fedco Seeds (www.fedcoseeds.com) of Waterville, Maine.   Another Maine based seed company, Johnny’s Selected Seeds (www.johnnyseeds.com)  has a large selection of heirloom and organic seeds available. 

I am sure that I have missed many other worthy enterprises here in our region, so look around and see what might be available right in your community! 

Check www.permacultureactivist.net/seeds/SeedResrcs.htm for an excellent list of heritage and open pollinated seed companies. In addition, the Seed Savers Exchange (www.seedsavers.org) in Iowa is an excellent resource for anyone interested in the preservation of our seed heritage. Happy planting!

Elizabeth Conrad

I didn’t stay awake long enough to hear the President’s full State of the Union Address last week, but one part I do remember was his comment related to bringing manufacturing jobs back to the US.  According to an article in the Business Section of yesterday’s  New York Times (White House Offers Plan to Lure Jobs to America, NYT, February 2, 2012) the administration is proposing the elimination of tax breaks for corporations that ship jobs overseas, tax incentives for corporations that keep or increase manufacturing employment here in the US, and enhanced enforcement of our intellectual property rights and trade policies. 

We say, It’s about time.

While these measures will surely be too timid to make a radical difference, a change in official US economic policy is long overdue.  While the numbers of manufacturing jobs are unlikely to ever reach their former levels, we do know that over the last 30 years we have lost over 7M manufacturing jobs, even as our consumption levels for manufactured goods has risen exponentially.  A chart included in the Times article shows manufacturing employment at 19.6 Million jobs in 1979, declining to a level of 11.8 million in December 2011.  Of course, wages are lower in developing countries and the fact that these wages have  been rising recently is a key driver (along with higher energy costs) in the move to “on-shore”  jobs formerly performed overseas.  However, our national pre-occupation with cheap consumer goods and our blind faith in the “wisdom” of the free markets has led to the systematic dismantling of our employment infrastructure– an abandonment of a national industrial policy that has most certainly contributed to the destruction of the middle class more directly than any other social or economic change faced by this nation over the last 50 years.  Improved education for American children? Yes.  Investment in roads and new energy sources? Of course.  A sustained strategy that supports small and medium sized businesses committed to Making It in America?   You betcha. 

Elizabeth Conrad

Rick and I were fortunate to be able to attend the annual “Fork it Over” fundraiser for the Wesport Farmer’s Market last night at Gilbertie’s Herb Gardens in Westport CT.   According to event organizers, all 200 tickets were sold out within two days of posting the event earlier this month!  If our experience is a guide, everyone had a wonderful time.  After picking up our plate, napkin, and fork at the entrance, we were free to wander and taste the many delicious options provided by Fairfield County’s finest Farm to Table chefs.  The greenhouses had been beautifully transformed with candle light, side tables and comfortable seating, live music, and of course wonderful food and wine was available throughout the evening.  The Silent Auction offerings ranged from a weekend in Deer Isle Maine to a saltwater fishing trip in Long Island Sound.  We know Market Director Lori Cochran-Dougall and her team must be really pleased with the tremendous support shown by the community. Check out the Market web site for pictures soon: www.westportfarmersmarket.com .

The following small businesses are making beautiful, useful and durable products in New England using local labor and sourcing their raw materials from within our region whenever possible. These enterprising businesses have made a commitment to keep all elements of manufacture in our region despite an environment that rewards off-shoring and prevailing “wisdom” that price trumps quality. Many of these firms have been in business for multiple generations, and have only a handful of employees, none larger than 40 employees. While they may be small, these companies are a primary source of employment for people in their area. We encourage you to explore their stories and take a look at their exceptional products.

Blankets & Throws

Brahms Mount Textiles, Maine

Johnson Woolen Mills, Johnson Vermont

Home & Garden Accessories

North Country Wind Bells, Maine

Custom Cordage, The Right Mat, Maine
Door Mats made from reclaimed fishing float rope

Wooden Bowls & Utensils

New Hampshire Bowl and Board, New Hampshire

Wooden Solar Dryers & Buckets

Robbins Home Goods, Maine

Wooden Boxes

Frye’s Measure Mill, New Hampshire

Personal Care & Home Cleaning Products

Mother Mabel’s, Maine

Sweet Grass Farms, New Hampshire

Baskets for Everyday Use

Peterboro Basket Company, New Hampshire

Ron grew up in a military family and experienced living in many different places across the US and around the world. This early exposure to a variety of cultures and aesthetic traditions has influence Ron’s broad interests in both modern and ancient design. While he describes his family as creative, Ron was the only member of his family to attend art school and pursue a life-time of work as an artist and craftsman. Ron painted for years, exhibiting in galleries in New York City and Connecticut, and also had a business in Connecticut specializing in hand crafted leather goods for nearly a decade.

Ron made his first knife over twenty years ago, but has increasingly turned his attention to working with metalson a full time basis for the last seven years. His current interests include making knives and other hand implements along with jewelry that use a variety of techniques and decorative elements inspired by the many places Ron has lived and worked over the course of a lifetime.

While painting can be mentally exhausting, Ron describes working with his hands as restorative- the perfect intersection of art and physical engagement. Ron’s knives are hand-forged or shaped from stock steel. He uses both forms depending on the purpose of the implement and the type of embellishment he envisions for the blade and the handle.Handles are carved from small pieces of scrap wood collected over the several years Ron spent working as a cabinet maker, and inlaid with ivory or exotic wood or stone to create unique one-of-a-kind pieces. When we discussed the range of knives and implements created, a carving knife, chef’s knives, and small paring knives are all items Ron typically produces over the course of a year along with specialty and custom pieces.

Using an old hand-cranked blower found in a junk store, Ron was able to build a small forge behind his home. He has to time his production to the seasons as finishing a piece can take many hours of work in an unheated space. While some raw steel stock is purchased for use, Ron makes a special effort to use reclaimed steel from a variety of sources including the use of old leaf springs from a junked car. He has even pulled the springs from an old sofa to create small hooks and other utensils. Extremely knowledgeable about the various grades of steel, Ron makes a great effort to minimize waste through careful processes and the creative re-use of raw materials.

Ron doesn’t currently teach any classes, but he does offer one-on-one instruction to people who have an interest in learning the craft of metal work. He emphasizes that along with a creative and open mind, patience, quality, and attention to detail are critical attributes for an artisan to find success.

Ron and his wife Kitty live and work in New Haven CT.

You can see more of Ron’s work by visiting his products page on our e-commerce site, or contact him directly at ronsavage999@gmail.com for more information about custom pieces.

This profile written by Elizabeth Conrad, Common Good Market, Copyright 2011

From his studio in Windsor, Vermont, overlooking a reflective pond, Lada Bohac molds hot molten glass into works of art, yet he calls himself a craftsman not an artist. In his gentle voice laced with a Czechoslovakian accent he says, “Anyone who makes something from scratch can call themselves an artist. I stopped calling myself an artist because I do this for a living.” But it is Lada’s creative talent that emerges through each blown piece.

At fourteen years old and upon the completion of ninth grade, Lada had to choose his career path; just as every young Czechoslovakian student must do. He was determined to learn the art and trade of glassblowing. The source for this aspiration stemmed from deep roots that run both through family tradition and the culture of his homeland. Seven years of schooling led to trade school, followed by a college for handmade products and finally, design school. Lada began working at Crystalex, a prestigious Czech company well known for glass art and design, and then in 1995 he was recruited and relocated to the U.S. by Simon Pearce, a domestic, commercial, handmade glass company. After working for Simon Pearce for ten years, Lada decided to open his own glassblowing studio. “Following someone else’s design was not for me”, he notes. Today Lada Bohac is considered one of the finest glassblowers in New England, a true professional in his field.

His exceptional work is due to a blend of hard work and the high quality core products used in each piece as well as the consistent attention he devotes to his ovens. He fires and re-fires each piece many times before completion. Some would consider Lada a purist. “It is important to have clean glass to begin. I always like clean glass with color, all melted together. If someone asks me to make nice, perfect, clean glass, I can do it because I have all the equipment”. Lada consistently maintains his oven to over 2000 degrees, a costly expense, which allows him to be satisfied with his end product.

“You have to be very patient and control the temperature. Just a few degrees down and a few up… everything is a factor. Even the weather outside is important. If you have an open window one day and it was cold overnight it can affect the glass.”

The outcome of this devotion to detail can be seen in every piece Lada creates. His designs are smooth, clean, clear, and flawless. Swirling hues are stretched through beautiful shapes and frozen at a precise moment in time. There is a striking contradiction to the craftsman and his craft; a rugged, hardworking man using rough metal tools that line his studio and heavy ovens to create such fragile art. Yet his works are a reflection of Lada. They are precise, intriguing and peaceful.

Today Lada draws inspiration from his love of gardening. “My hobby is gardening. Where I find motive is in nature ,in the garden”. Lada’s product line offers a wide variety of pieces for practical and decorative use. ”I can make anything from glass, not just animals, not just bowls, not just vases. I like special orders, he says. “Challenge me, I like to make everything!”

Please see more of Lada’s work in the hand-blown glass section or our e- commerce store.

This profile was written by Amy Macy, freelance writer and marketing consultant.

Copyright Common Good Market, 2011

What results from this collaboration are vibrant hand blown glasses, bowls, pitchers and one-of-a-kind pieces that are as pleasing to the hands as they are to the eyes.

You might even say that Charlie and Terrill were in sync with each other before they ever met. Each found their way into glass making as a natural progression from studying other art forms. Charlie first studied pottery at Franklin Pierce College in New Hampshire, while Terrill discovered glass in high school and then pursued glass blowing and photography at the Museum School of Fine Arts and other colleges in the Boston area.

Fast forward to 1996 when their lives intersected in Northern California after they each moved west to be part of the exciting glass scene. It was in this thriving hub of artists using American, Swedish and Italian glass techniques, that their lives merged and their styles advanced. By 2000, they had a shop of their own in Oakland, California. After a decade on the West Coast, they were drawn back East and settled into the current salt box barn that lends itself to being a studio, showroom and home all in one.

Choreographed Improvisation

Unlike other mediums, glass blowing often requires two people working in close physical and emotional contact as the gaffer (lead artist) and the assistant strike a balance of being both spontaneous, controlled, and creative as they work together with the hot material. Molten glass is first gathered out of the furnace at the end of a hollow steel tube called a blowpipe and then it is shaped into form with different types of techniques using hand tools at a “working” temperature of 2050 degrees. “It’s really a ‘choreographed improvisation’ if you can picture that”, Terrill explained. “We start out with a specific plan knowing how the glass will behave, but we also allow for the glass to take on its own unique characteristics. While Terrill and Charlie leave plenty of room for creatively exploiting natural variation, Terrill comments that ” for many years we have made work that is within 1/4 inch of specifications. We take great pride in taking something from drawing to 3-d accurately. ” For some items however, like their signature cups, variation is encouraged. “We like them to be individual because the hands that will enjoy them are all unique as well!”

Ideas for their evolving designs change as their interests do. Terrill said they are both “polymorphic” and tap into everything and everyone in their world. “It’s difficult to pinpoint one source of inspiration,” Terrill commented. “Ideas come from former teachers, the music we listen to, the food we enjoy, the nature that surrounds us, and even comic books,” she said enthusiastically.

Captivating and Magical

“It’s been a means of expression for over 20 years and it’s super innate with me,” Terrill reflected, “It’s like my having my own language when I work with molten glass and the light passes through it.” For Charlie, working with the hot and glowing liquid is captivating and magical. “It takes a particular type of person to commit their existence to this type of work,” Charlie admits, “and it doesn’t get easier or less expensive the more we do it, but it’s an incredibly satisfying experience to create something with intent that people respond to.”

They create their beautiful, durable, hand blown glass pieces with the intention that it will be enjoyed, cherished and become a useful part of a person’s daily life. “One thing I love about making a very few special ‘somethings’ is the connection with people who buy them, their subsequent pleasure in the work, and of course the affirmation of someone enjoying me being creative,” Terrill said. “This is the type of art that doesn’t have to sit on the shelf or on the wall, you can interact with it on a daily basis and enjoy it, “Charlie added.

Click here to see Terrill and Charlie’s colorful handmade glass blown pieces.

This profile was written by Connie Fitch, writer, producer, and marketing professional for Common Good Market

This page last reviewed and updated November 27, 2010

Following many years as a computer programmer, Gary started his business as a full-time venture eight years ago. He does all the work himself, with some help from partner Norma, in the wood shop located in the basement of their home. “I often find that when I’m working on projects, I completely lose track of the time,” says Gary.

He works on multiple pieces at once. It could take three days to make a cutting board, for example, and another two days for it to dry. Inspiration comes from the pieces of wood he has on hand, hence the ability to create many items, no two exactly alike. Gary started out primarily working with oak, and has expanded over the years to enjoy using all hardwoods. His designs include multiple woods, simple yet bold patterns, and butcher blocks.

The work starts with raw wood, which he then planes, creates the general shape of each item, and refines to completion. He employs a variety of joinery methods, and uses glue and screws as needed. Custom work is part of the mix, such as making a cutting board that fits into the recess of a granite counter top. No stains are used, allowing the beauty and color of each type of wood to shine through. Food-safe items get an oil finish; other pieces are finished with polyurethane.

His love for woodworking began as a teen growing up in New York near the Canadian border. He’s lived in Maine since 1979 and is heavily invested in the woodworking community, even belonging to the Kennebec Valley Woodworkers Association. It’s a lively group that meets monthly to share tips and techniques.

Cribbage boards are one of Gary’s specialties, and he proudly reveals that the first one he made, for his brother 30 years ago, is still in use. Cribbage is a popular pastimes in many areas, and Gary has found a niche producing high-quality cribbage boards in a variety of designs.

“I’m thankful to have such a rewarding job that’s also my passion,” shares Gary. “Maybe it’s a sign of the times, but in recent years I’ve gotten busier as more people become interested in my work and having hand-made, long-lasting things.”

This profile written by Ilene Moyher, Marketing Specialist.

Copyright Common Good Market 2010

Imagine being thrust into a situation where your best option is to part with the majority of your worldly possessions, and downsize to a 150 square foot cabin in the woods. It was that scenario that set these two former cabinetmakers on a path of living a much simpler yet more fulfilling life. Meb Boden and her husband Tom Vaiciulis, the owners of Meb’s Kitchenwares have fewer items these days, but are doing what they love together. Each beautiful hand crafted wooden kitchen utensil, cutting board, and vessel are made from New England hardwoods, in their rural, 600-square-foot workshop in Woodstock, Connecticut.

Going back to the days when Meb and Tom first met puts perspective on their ability to work and live together in what many might consider tight quarters. Early on in their relationship, they discovered they were “grand partners” at sea and decided to rent storage space for all their belonging back East so they could travel amid Caribbean palms and turquoise waters. For 3 years, they called their 35 year old, all teak sailboat home and made small furniture pieces and stained glass in their island workshop. Life in international waters was mostly filled with sunshine until the day that arson destroyed their workshop and turned their life upside down. “Fortunately we’re “lemonade” kind of people: as in “Wow, that’s a pretty sour lemon—let’s make lemonade!” Meb remarked. This unfortunate situation made them re-evaluate where they were living and what was really important in their lives. They moved back to Connecticut and built as what she describes as an “elegant” yet quaint 150 square foot cabin on property they bought from family.

“We have fewer things but what items we do have are ones we treasure and are handmade by people we know,” Meg reflected. “We cut our own firewood, light with oil lamps and commute 3 miles to our rented, on-the-grid workshop,” she added. “Our 21-acre homestead is constantly changing with the additions of gardens and pathways, fruit trees and assorted outbuildings. They are currently in the process of increasing their living space to a “lavish” 600-800 square feet.

From Cabinetmaking to Kitchenwares:

When Tom and Meb were making cabinets it was Tom who designed and built while Meb did the finishing work. It was as she described “pretty dull work” until they got the idea of making cheese knives for Christmas presents out of their cabinet leftovers. “I just LOVED making the freeform pieces,” she expressed. “Its less precise and methodical than cabinet making.” Friends appreciated the gifts and encouraged them to sell them locally and at craft fairs. Meb dove into her new form of woodworking with enthusiasm and saw a parallel with the boating world. ” I loved the freeform lifestyle and the tight-knit community of craftspeople, a subculture similar to our yachting family” she said. Tom continued to make cabinets until he was able to join her full time.

Choosing the right kind of wood is a crucial first step in this type of woodworking. Although Oak is abundant where they live, and is great for firewood, furniture and framing, its open grain which can trap food and germs is unsuitable for their purpose. They use mainly Maple, Cherry, Black Walnut, and Birch – all top grade New England hardwoods that have a range of colors and distinctive grain patterns. They enjoy trekking to Northern Vermont, (the source for local hardwood yards) where they climb 50 foot high stacks of lumber sorting through rough stock to find the finest-figured grains. Next step is laying out the design, then cutting and carving each item one at a time.

“In the workshop as at home, we exploit our “in sync” brains and fingers. We handpick each board, debate how best to use its grain & figure. We leave bits for each other to play with. We finish each other’s work. The result is a collaborative dance, with surprises along the way.”

When you hold one of their woodenware products in your hand, you’ll realize why it’s quality versus the quantity that makes a difference. “We imagine unknown hands enjoying the sensuous shapes, smooth textures, and luscious wood grains,” said Meb. “We picture our utensils creating delectable recipes in kitchens around the world.”

With proper care Meb’s Kitchenwares will shine for many generations to come.

Click here to see Meb Kitchenware’s products.

This Profile was created by Connie Fitch, Freelance writer, marketing, and video production professional based in Connecticut.

Page updated February 27, 2011