After painter’s death, friends reflect on a life rebuilt

Michael Moore with his son, Lucian. Friends and family say much of his life revolved around raising his son.
Photo provided


Michael Moore with his son, Lucian. Friends and family say much of his life revolved around raising his son.
LAKEVILLE — Friends and coworkers say Michael Moore spent years rebuilding his life.
Now, they are grappling not only with the loss of a friend and employer, but with the loss of a father whose life had come to revolve around his 7-year-old son, Lucian.
The 40-year-old painting contractor was killed June 1 in Ashley Falls. Authorities allege that fellow painting contractor Cole Bushnell was responsible. Bushnell, 41, has pleaded not guilty to a charge of first-degree murder and is being held without bail.
Friends say Moore had overcome addiction, regained custody of his son and built a business that employed people who, like him, were trying to get back on their feet. He was also talking about marriage after more than six months in a committed relationship.
For many who knew both Moore and Bushnell, the allegations remain difficult to reconcile. The two men had known each other since their days at Housatonic Valley Regional High School, worked together for years and remained close friends.
“They were best friends,” Moises Reyes, a painter who was employed by Moore, said.
Friends say Moore and Bushnell spoke daily, shared workers on larger jobs, consulted one another on estimates and occasionally helped each other financially when business slowed.
One friend and fellow painter, who has known both men since childhood but didn’t want his name disclosed, said Bushnell served as a mentor to Moore as the younger contractor built his own business.
“Cole was like a mentor to him,” the friend said. “Whatever job one got, they would run it by the other.”
Friends said it was not uncommon for the two men to loan each other money when cash flow tightened, a reality of running small contracting businesses.
“I saw it both ways,” the friend said. “Mike would help Cole. Cole would help Mike.”
That history has left many searching for answers.
“I don’t understand how it happened,” the friend said.
Rebuilding his life
Those closest to Moore acknowledge that he struggled with addiction during his younger years and had several encounters with the criminal justice system. But friends say those challenges became the foundation of a turnaround.
After becoming sober, Moore focused on rebuilding his life, establishing his own business and gaining sole custody of Lucian nearly four years ago.
“He got clean. He got his son back,” said Joey St. John, who worked for Moore but had been friends with him for nearly a decade.
Friends describe that achievement as one of Moore’s proudest accomplishments. They say much of what he did in recent years revolved around creating stability for his son. Lucian’s mother, they said, had her own personal struggles.
A father first
By all accounts, Lucian was the center of Moore’s life.
Friends describe him as a single father whose daily routine revolved around his son. He dropped him off at daycare in Winsted most days and picked him up at the end of the day.
Friends say Moore worked hard to regain custody of Lucian and was devoted to raising him.
“Lucian loved his daddy more than anything,” said Jacklyn Evon, whose husband grew up with Moore and was a friend.
Her husband, Bryan, attended Kellogg Elementary School in Falls Village with Moore in the 1990s, when there were only about 10 children in the grade, with just three being boys.
“They were like brothers,” she said, noting that Moore gave a lively speech at their wedding.
Following Moore’s death, friends and family members have rallied around Moore’s son.
Evon launched a GoFundMe campaign noting that Moore was Lucian’s sole caregiver, provider and primary source of support. The fundraiser seeks to help cover counseling, educational expenses, daily needs and long-term financial support for the boy.
“No amount can replace Michael or erase the pain of this loss,” the fundraiser states. “However, together we can help ease some of the burdens that now lie ahead for Lucian.”
The GoFundMe had generated about $18,000 in a week, with about 150 contributors.
Evon said that Lucian has a strong foundation but there is uncertainty ahead.
Moore’s death has also left his workers grieving and uncertain about the future.
Many of the people Moore employed were themselves rebuilding their lives after addiction, incarceration or other setbacks.
Reyes said Moore gave him an opportunity after he completed rehabilitation in 2025 and began trying to turn his life around.
“He uplifted me,” Reyes said. “He pointed me in a better direction. I am completely heartbroken by this.”
Reyes said Moore believed in him and helped him develop skills that allowed him to earn a better living. Reyes was working at Burger King in Torrington before Moore hired him.
“If my motivation went down, he would help me,” Reyes said.
Today, Reyes is still trying to process the loss.
“It’s hard to wake up in the morning and concentrate,” he said, who now has to find a new job. “Every 30 minutes I feel grief.”
Meanwhile, St. John was also recovering from addiction and needed a job. “He’s like, ‘I’ll give you some days, come work for me.’ I said: ‘All right.’”
St. John said he became friends with Moore through their shared love of music and Moore’s passion for playing guitar.
Fernando, who didn’t provide his last name but worked for Bushnell, said he is struggling to process the alleged homicide and is now in therapy. He was the employee who was allegedly shown Moore’s body by Bushnell on June 1.
St. John, who had planned to spend the summer working for Moore, has been making deliveries through DoorDash while searching for another job.
Others remain uncertain about what comes next.
Coworkers say Moore looked after his crew, bought lunch, solved problems and treated employees with respect.
Remembering the man they knew
Many of Moore’s friends say his death came at a time when he appeared to have found a path forward.
They said the timing of his death was tragic, since he had got back on track and had rebuilt his life around his family and work.
“He poured all of his energy into his son,” Evon said. “And whatever he had left, he put into his business.”
Patrick L. Sullivan
This fish took a Wooly Bugger in basic black, with rubber legs. Always get the rubber legs.
Largemouth bass are not picky eaters. When engaged they usually dive and tug. Once in a while they leap. They are easily discouraged, however, and after a minute or two come meekly to the net.
Every August I shift gears and head to the ancestral HQ with no electricity, minimal plumbing and a warm-water lake chock-full of largemouth bass, not to mention smallmouth, perch, pickerel and panfish. The largemouth are the main attraction.
I used an antique rowboat for years. Then a canoe, which was awkward to manage solo, especially when the wind picked up.
Then I hit on a succession of inflatable pontoon and belly boats, powered by oars and/or swim fins, and there I have remained.
Did I forget to mention that no motors are allowed on this lake? Well, no motors are allowed, and it’s no good arguing that a small electric trolling motor couldn’t possibly hurt anything. Ask me how I know this.
It’s a quiet, rejuvenating few weeks. The phone gets enough signal on one end of the deck to receive messages and maybe make a call if the wind is right. If something comes up, it’s only 15 minutes to so-called civilization.
When not fishing, I read, visit assorted cousins, listen to baseball on the AM radio and/or stare blankly into the middle distance.
Bassing with a fly rod in still water is a different game than chasing trout in streams.
A medium-fast-action rod, 8 to 10 feet, in line weight 7 or 8 is the starting point. The flies are big, and the wind is constant, so the angler needs some power, tempered with a bit of finesse.
I usually bring two rods. One is rigged with a floating line with a heavy front taper for turning over surface flies such as poppers.
The other has either a sink-tip or intermediate line. The lake is not all that deep, and the Woolly Buggers, Clousers and other streamers are heavy. The idea is to stay out of the vegetation while getting close to where the lunkers are hunkered down.
I use short nylon leaders, 7.5 feet with 1X tippet out of the package, and modify them constantly with additional sections of fluorocarbon tippet, snaps and droppers.
Surface action is usually minimal during the day unless it’s overcast. The lake runs east-west, so the angler can track the midmorning and late-afternoon shadows and work those areas.
Or the angler can wait until about 6:30 p.m., when things start to pick up.
Or get out there at the crack of dawn, which is best if surface action is the goal.
For subsurface fishing, some experimentation is required to find the right combination of flies, leader and sink rate. The angler also has to decide whether to troll.
There are a few places where a dry-dropper rig is appropriate, the dry being an extremely buoyant popper with a piece of stout fluorocarbon tippet tied to the bend of the hook and something heavy and wiggly at the end, like a stonefly nymph with rubber legs. (Always get the rubber legs.)
If this sounds like a bobber, it’s because it is. Don’t tell anyone. The purists don’t like it.
A net with a long handle is necessary. There is no leverage when sitting in what amounts to a floating chair.
I do not bring my phone for fish pictures. I will drop it into the depths. Ask me how I know this.
Instead I bring a small point-and-shoot camera. These get lost too, but perversely I have better luck keeping the cheap gear safe than the expensive items.
Sunscreen is applied liberally and frequently. After 50-odd years of being outside, I now have to visit the dermatologist every so often to have my face edited, and I don’t enjoy it.
A baseball cap does nothing for the ears and neck. I have a hat with a wide brim and a vented top, so it doesn’t get too hot. It looks stupid, but this is an acceptable risk.
Finally, a word about the quarry. Largemouth bass are not picky eaters. When engaged they usually dive and tug. Once in a while they leap. They are easily discouraged, however, and after a minute or two come meekly to the net.
Smallmouth, not so much. These aren’t especially big, but every smallie I’ve ever met thought it was much bigger than it actually was. Expect acrobatics.
Perch usually grab my fly when I don’t want them to.

Panfish are everywhere. They are extremely cooperative. Chasing sunnies is a good way to get a newcomer started.
And then there are the pickerel. These are nasty fish. Very antisocial. I keep a pair of long-handled pliers handy to get the fly out of their mouths safely while admiring the large number of very sharp teeth. They will bite the pliers. Do not use your fingers. Again, ask me how I know this.
Upon release, it’s not unusual to observe the pickerel hanging around a few yards away, glaring and plotting hideous revenge.
So this is the August routine, occasionally leavened with a scramble into a brook trout stream if conditions allow.
It’s peaceful. Kind of boring, in a good way.
And then in the fall the game shifts back to rivers and streams for trout.

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Natalia Zukerman
Broadway is going way off Broadway when it heads outdoors for The Festival at Hutton Brickyards in Kingston Aug. 14-16, transforming the Hudson River waterfront into a three-day celebration of show tunes, stars and sing-alongs. The inaugural event features an all-star lineup including Audra McDonald, Kelli O’Hara, Renée Elise Goldsberry, Brian Stokes Mitchell and dozens more, along with a 30th anniversary celebration of the musical “Rent” featuring original cast members.
Hutton Brickyards is a former 19th-century brickyard transformed into a historic riverfront hotel and event destination spanning 100 acres along the Hudson. Beyond the nightly concerts, festivalgoers can expect campfire sing-alongs, dance parties, master classes, costume contests and a marketplace highlighting Hudson Valley food, drinks and artisans.
Three-day passes and more information are available at BroadwayFest.com.
Natalia Zukerman
The Crandell Theatre in 1948.
Originally built as an “atmospheric theater,” the Crandell was designed to transport audiences beyond the walls of the auditorium. Its sloped floor, proscenium arch, orchestra pit and balcony seating reflected the grandeur of early 20th-century movie palaces.
Crandell Theatre in Chatham has spent a century bringing stories to the big screen, and this December the historic theater will celebrate its 100th anniversary with a yearlong tribute to the films, filmmakers and community members who have helped keep it alive.
The celebration continues Sunday, Aug. 23, with a special screening of Martin Scorsese’s “The King of Comedy,” presented as part of the theater’s 100th Anniversary Series by Bill Kramer, CEO of the Academy of Motion Picture Arts and Sciences. Kramer will introduce the 1982 film, a darkly comic exploration of celebrity, obsession and the pursuit of fame.
The 100th Anniversary Series invites industry leaders and film experts to share movies that have influenced them and continue to inspire new generations of audiences.
“The King of Comedy” is a fitting selection for a theater whose own story is rooted in the enduring power of cinema. Built in 1926 by Chatham native Walter S. Crandell, the theater opened on Christmas Day of that year with the silent film “Michael Strogoff.” Designed by Glens Falls architect Louis L. Wetmore in the Spanish Renaissance style, the freestanding building quickly became a beloved fixture on Main Street.
Originally built as an “atmospheric theater,” the Crandell was designed to transport audiences beyond the walls of the auditorium. Its sloped floor, proscenium arch, orchestra pit and balcony seating reflected the grandeur of early 20th-century movie palaces. Sound equipment was added in 1929, allowing the theater to transition from silent films to “talkies.”
Over the decades, ownership changed hands, but the theater remained a gathering place for generations of moviegoers. In 2010, following the death of longtime owner Tony Quirino, the theater faced an uncertain future. Community members rallied to save it, with the Chatham Film Club raising approximately $600,000 to purchase the building and complete critical repairs.
The Crandell reopened as a nonprofit community theater in July 2010. In 2018, the organization officially adopted the theater’s name, bringing together its film programming, preservation efforts and annual FilmColumbia Festival under one mission: preserving the theater as a cultural anchor for Chatham and the surrounding region.
A major restoration and modernization project was completed in 2025, bringing the historic theater up to current standards while preserving its architectural character. The renovation included updates to the auditorium, projection systems and building infrastructure.
For former board member Carol Sadlon, the upcoming centennial represents both a celebration of the theater’s history and a testament to the community that has protected it.
“It has been an honor to serve on the Board of the extraordinarily unique Crandell Theatre, celebrating its 100th birthday this December,” Sadlon said. “Renovating the not-for-profit community theater has been a labor of love and commitment for all involved.”
Sadlon noted that the theater’s creation in 1926 reflected the optimism of the era, and that the same spirit continues today.
“Walter S. Crandell, successful Wall Street investor and native son of Chatham, built the 500-seat theater for a community of 3,000 people,” she said. “Thanks to an equally optimistic group of people, the Chatham Film Club, who purchased the theater in 2010, and a very generous community, the theater lives on to continue entertaining for future generations.”
The Crandell Theatre’s 100th Anniversary Series screening of “The King of Comedy” will take place Sunday, Aug. 23, at 4 p.m.
For tickets and more information, visit crandelltheatre.org.
Natalia Zukerman
MOMIX is one of the featured performers at this year’s Arts Connected fundraiser on Aug. 29.
The Northwest Connecticut Arts Council will celebrate the region’s vibrant arts community with Arts Connected 2026, its annual fundraising event, on Saturday, Aug. 29, from 5 to 8 p.m. at Buck’s Rock Camp in New Milford.
More than a fundraiser, Arts Connected is designed as a celebration of the artists, performers and organizations that make the Northwest Corner’s cultural landscape thrive. Guests can enjoy live music and performances, a curated gallery of artwork by regional artists, local food and drinks, and opportunities to connect with fellow arts supporters. Tickets include hors d’oeuvres, an open bar and all entertainment.

The evening will feature live plein air painting by artists from Plein Air Litchfield, performances by Our Culture Is Beautiful (OCIB), fire performer Cinderfella, and Susan Becker Aziz’s monumental humpback whale puppet, originally created for Paul Winter’s “Missa Gaia.” Guests will also have the opportunity to purchase artwork from a curated exhibition, with proceeds supporting the Arts Council’s mission to strengthen and promote the arts throughout Northwest Connecticut.
This year’s honorary host committee includes Meryl Streep, Diane von Furstenberg, Tim Daly, Téa Leoni, Maria Horn, Patti LuPone, Jack O’Brien, Sam Waterston and Paul Winter. Creative cocktail attire is encouraged, and attendance is limited. The event is open to guests 21 and older.
For more information or to purchase tickets, visit artsnwct.org

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