MILLBROOK — The Trevor-Lovejoy Zoo hosted its sixth annual Maple Syrup Madness Weekend on March 7 and 8, drawing visitors eager to sample fresh maple syrup, learn about the sugaring process and enjoy one of the region’s sweetest seasonal activities. The event will continue March 14 and 15, as long as the sap continues to flow, organizers said.
Visitors were treated to free tastings of locally made maple syrup with a side of waffles, while Alan Tousignant — a woodworker, syrup maker and director of the Trevor-Lovejoy Zoo — led demonstrations showing how sap collected from nearby maple trees is transformed into syrup.
“This is a very seasonal activity, and you’ve got to go while you can,” Tousignant said of the labor-intensive process.
Alan Tousignant stokes a fire in a maple evaporator, a machine that turns maple sap into syrup with heat.Photo by Aly Morrissey
Tousignant first experimented with making maple syrup in a backyard over an open campfire under the stars — a method he said required long nights and wasted much of the heat.
Today, he uses a specialized maple evaporator, a large stainless-steel pan heated by a wood fire from below that allows sap to boil efficiently and continuously.
Sap collected from the trees begins as a clear, watery liquid that contains only about two to two and a half percent sugar, Tousignant explained. Before boiling, the sap is run through a reverse-osmosis process to concentrate the sugar slightly. The liquid then enters the evaporator, where heat gradually removes the water as the sap flows through a series of channels.
By the time the liquid reaches about 215 degrees, the sugar has concentrated enough to become maple syrup.
Tousignant said he is currently collecting sap from around 50 maple trees, some of which have multiple taps. He said one gallon of maple syrup requires around 40 gallons of sap, a process that requires a lot of patience.
“That’s what I call ‘almost syrup,’ he laughed, pointing to a container of darkening liquid that had already been boiled and was completing a filtration process.
“Typically, the early season syrup is lighter, and as the season goes on, it gets darker,” he said. “Toward the end of the season, it can be really dark, almost like walnut syrup.”
Tousignant collects chunks of naturally formed ice that float in the sap buckets when the weather gets cold enough as a way to keep a 300-gallon tank of sap cool to prevent it from spoiling until it can be processed.
Alan Tousignant adjusts the water level in his maple evaporator at the Trevor-Lovejoy Zoo on Millbrook School’s campus on Saturday, March 7.Photo by Aly Morrissey
“I love trying to use Mother Nature to its fullest in a sustainable way,” he said.
He employs the same philosophy in his woodworking, using trees that have already died or fallen or collecting discarded wood pallets from Amazon deliveries to the Millbrook School, saving them from the burn pile.
Raised near the Canadian border in upstate New York, Tousignant said he has always enjoyed working outdoors. As a graduate student, he supported himself with a variety of hands-on jobs to make extra spending money.
“Raking leaves, washing houses, painting, anything to make a little cash for eating and paying the bills,” he said.
It was during this time when Tousignant developed an acronym that now serves as the label for his maple syrup — Hayibaco, short for Home and Yard Improvements by Alan.
This will mark his first year selling his own maple syrup under his custom label, which features an illustrated photo of him in his signature outfit — a plaid shirt and a fleece vest — against a backdrop of his syrup bottles. Syrup will be sold in the gift shop at the Trevor-Lovejoy Zoo and possibly at the Millerton Farmer’s Market in the future.
In addition to Hayibaco, other locally made maple syrup and maple products were available for sale at the tasting, including nearby Soukup Farms in Dover and Russell Farms in Rhinebeck.
Dan Cohen, Trevor-Lovejoy Zoo’s Director of Media, said that zoo attendance typically dips during the winter months. But for many of the zoo’s animals — particularly those who prefer the cold weather — winter can actually be one of the best times to visit.
Animals like Stanley the lynx, Cohen said, are far more active in the cold weather.
Cohen and his colleagues began brainstorming ways to encourage winter zoo visits and were pleased with the success of both a hot chocolate event earlier this year and the maple syrup weekend.
Benjamin Reynaert
His career began at Martha Stewart Living. A contributor to Architectural Digest, Elle Decor, House Beautiful and Veranda, Reynaert has also served as style director at Domino. He has worked with Farrow & Ball, Chairish, Neiman Marcus, Sunbrella, Anthropologie, Gap, Bunny Williams Home and Stella Artois. He shares his work on Instagram via @aspoonfulofbenjamin.
“I’ve been fortunate to travel the country and abroad for Elle Decor, covering design fairs and trade shows like Deco Off in Paris, London Design Week in England, Cersaie Tile Show in Bologna, Italy, High Point in North Carolina and the Kitchen and Bath Industry Show in Las Vegas,” he said. He is drawn to unique objects and textiles. “As a market editor, the pieces that stick with me are not the newest. They are the ones I stumble upon and imagine living with.”
Reynaert is also co-founder of Ticking Tent with Christina Juarez, president of Christina Juarez & Company. The biannual event has become a destination for collectors and designers seeking curated antiques and design objects.
“I met Ben about 15 years ago when he was a young design editor and I was early into my career as a design communications strategist having switched gears from the fashion world," Juarez said. “We immediately clicked. I was impressed by his multidisciplinary creative talents — styling, writing, vision and impeccable eye — and his passion for the thrill of the hunt. I could not ask for a better partner and friend — my brother from another mother — and a yin to my yang. Two creatively minded people with a love of old and new beautiful things, and the ability to curate what the luxury shopper doesn’t know they need and most definitely wants.”
Reynaert described the most recent Ticking Tent as the largest yet. “We hosted over 2,000 guests and transacted our most sales to date with 75 vendors,” he said. “The most exciting part is seeing friends and watching new connections being made. I’m excited for the next event, Nov. 13–14, in Bedford, N.Y.”
Butter Wakefield’s kitchen from“The Layered Home” by Benjamin Reynaert.Manuel Rodriguez
For Reynaert, objects are defined as much by narrative as by design. “An object is about the story — whether it’s passed down in your family, something you worked hard for, bought on a trip, or a friend gave you,” he said. “With that added narrative, it doesn’t need to be the most aesthetically pleasing thing. The memory attached makes it beautiful. I like the idea of simple, seemingly insignificant items having a ton of meaning. Treat a thrift store painting as you would a Picasso.”
Greg Domres and Peter Nichols’ residence in Litchfield, which they share with their miniature schnauzer, Bunny, is one of 15 homes featured in Reynaert’s book, “The Layered Home.” The couple hosted a book signing at George Home in Washington Depot. “I first met Ben at press events during my time at John Derian,” Domres said. “We became friends and stayed connected professionally over the years.”
The book spans interiors from Eric Goujou’s shop The Wolf Tile in Paris’ 5th arrondissement to textile designer Schuyler Samperton’s Litchfield farmhouse. “Sharing the stories of talented, stylish people I’ve met during my tenure in magazines has been a privilege,” Reynaert said. “The most inspiring interiors are layered — with personality, patina and the poetry of a life lived. This book is my love letter to that idea.”
Reynaert said he would like to travel to Japan and Australia and hopes to develop his own product line in the future. “Balancing work and life is a challenge,” he said. He spends downtime with his husband, Luis Illades, in Delaware, where they are renovating a Victorian home.
“I feel incredibly fortunate to blend my work and my life in the home I share,” he said. “Creating a home is, at its core, an act of love.”
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Mickalene Thomas and Delano Dunn at Wassaic Project.
Thomas, an artist whose multidisciplinary practice spans painting, collage and installation, first met Dunn when she was his graduate adviser at the School of Visual Arts. “I think your work needs to be out there more,” she said, noting the urgency of this collection in the current socio-political moment.
Dunn’s layered collages often begin with an image unearthed from flea markets, used bookstores and forgotten archives.
“I go to secondhand shops, old bookstores, any place that looks like it has history in it,” he said.
Sometimes, he explained, an image becomes the centerpiece of a work. Other times it simply sparks an idea.
“There’ll be an idea that pops into my head. I’ll read something or hear music or a lyric, and then I’ll think, ‘I’ve got to find an image that matches that.’”
His color palette also carries its own history.
“I grew up in L.A. during the L.A. riots,” Dunn said. “I would sit on my porch as a kid. I was watching the neighborhood burn, but the sky was beautiful.”
He still paints with those saturated blues, reds and oranges.
“Color can transport you. Color can make you feel safe, or happy or scared,” he said. “Those colors made me feel safe.”
For Dunn, Troutbeck’s own layered history became an active part of the work. Learning that the estate had hosted W.E.B. Du Bois, Langston Hughes, Ida B. Wells and generations of civil rights leaders informed his direction.
Dunn was given access to Troutbeck’s archives and found handwritten notes by Langston Hughes, and writings by Du Bois and Wells that found their way into the exhibition.
“There was a letter between Amy Spingarn and Martin Luther King Jr.,” Dunn recalled. “To be in its presence and hold it... you don’t see communication like that every day.”
Delano Dunn’s “Echoes in the Margin” at Troutbeck.Natalia Zukerman
Much of Dunn’s work invites viewers to dig deeper into history rather than accept simplified narratives.
“I want them to look at it and go, ‘Wow, this is really amazing and interesting and colorful and beautiful,’” he said. “And then I want them to be terrified shortly after that.” He accomplishes this through bold, colorful, and often playful compositions that draw the viewer in before revealing their more complex historical underpinnings. As Thomas wrote, “Dunn’s compositions invite viewers to sit within that tension and take it in.” That impulse toward deeper investigation extends to Dunn’s own children, who are often his first audience.
“They’ll ask, ‘What is this? Why does this person look the way they look? Why are you using that color? Why are you using glitter?’”
Those conversations, he said, become lessons in looking beyond appearances.
Thomas framed collage itself as a kind of storytelling practice —“the gathering of information… piecing things together”—and praised Dunn’s ability to translate research, memory and visual pleasure into a unified language. She also underscored the importance of creative joy in the process. “If you’re going to your studio and you’re not having fun,” she said, “you shouldn’t be doing it.”
Dunn said one of the biggest misconceptions he hopes to challenge is the idea that there is a monolithic Black experience.
“There are so many different perspectives out there. This is just one of them,” he said. In the same breath, Dunn said he adopts the label “Black artist” because “it would make my Grandpa proud.”
The nearly two-hour conversation shifted seamlessly between humor and history, studio practice and social commentary, ultimately returning to what both artists believe art can accomplish: encouraging curiosity, complicating familiar stories and inviting viewers to question what they see.
As Dunn put it, “History is so much more nuanced than what we’re taught. There’s so much more going on below the surface.”
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