
This smallmouth bass ignored the tempting green Gurgler and instead took a reverse-hackle wet fly typically used in Tenkara angling. Fish are funny that way.
Patrick L. Sullivan
This smallmouth bass ignored the tempting green Gurgler and instead took a reverse-hackle wet fly typically used in Tenkara angling. Fish are funny that way.
The dog days have arrived.
This phrase refers to the summer, which brings heat, which makes trout unhappy.
During the dog days, anglers have to watch the skies and the thermometer. A stream thermometer, in particular.
The rule of thumb is: No trout fishing when the water temperature hits 68 degrees. When the water gets to 68 or above, there is less dissolved oxygen, which makes it harder for trout to breathe.
That’s why the Housatonic River has several designated thermal refuge areas, where little creeks or springs trickle into the big river, providing some colder water. You’ll see trout stacked up in these places, like airplanes waiting to land at a busy airport.
Regrettably, you’ll also see unscrupulous anglers chucking stuff at these beleaguered fish.
Many of the signs designating these areas have either fallen off their trees or are obscured by brush. Addressing this would be an excellent summer project for somebody.
If you want to fish for trout your best option is a tailwater, and the closest is the West Branch of the Farmington River.
The interagency confusion that left the Farmington with low flows the last couple of years was, thankfully, resolved by the General Assembly in the recent session.
So the 20 miles or so downstream from the Godwin dam north of Riverton have been good-to-excellent in terms of flow and water temperature. Downstream from that, not so much, but that is par for the course.
This is where your stream thermometer comes in handy. I’ve got two. A digital version that clips to my pack, and a regular one that I have affixed to a long dowel, for getting a reading without getting my feet wet.
The other tailwater options I’m familiar with are in the Catskills, between one and a half and three hours driving time from Northwest Connecticut. The East and West branches of the Delaware River, below their respective dams, are the most consistent. The Neversink near Bridgeville is okay as of this writing but does warm up, and my home river, the Esopus, is usually a dawn and maybe dusk proposition.
All of these rivers can be found on the United States Geological Survey water data website, where there will be info on flow, water temperature, and sometimes turbidity.
Back to the Housatonic. The river is home to approximately 100 kajillion smallmouth bass, who don’t mind the warmer water.
This is the time to dig out a heavier rod (line weight 6-8) and that box of poppers you were convinced to buy in a weak moment at the Orvis store.
The wet fly was tied to a piece of fluorocarbon tippet which was in turn tied to the hook of the Gurgler.Patrick L. Sullivan
You can fool around with a sink-tip line, but 99% of the time a floating line is fine. The smallies will move up and down the water column without much prompting.
A shortish, stout leader is the way to go. I start with a 7.5-foot nylon leader tapered to 0X. This usually gets hacked up pretty quick, and I add additional sections of tippet, 0X-2X, as needed.
Tactics can be just about anything. Crayfish abound in the Hous; you’ll see bits of claw in the shallows. There are as many crayfish imitations as there are crayfish, it seems. But if you don’t want to buy a lot of new stuff, a brown Wooly Bugger will do the trick.
When I was new to smallmouth fishing, and didn’t know a smallie from a crab, I watched a Housatonic old-timer put on an incredible exhibition. Every second or third cast he hooked up, and not just with the immature bass (aka “dinkers”) either.
When he took a break, I asked him how he did it.
The answer: He dead-drifted a brown Wooly, size 6 or so, upstream, keeping it short, maybe a 20-foot cast.
As the line and fly went past him and started to drag, he executed a series of short jerks, using a combination of rod wiggling and line strips.
The takes usually happened a couple seconds into the dead drift, or on the swing-and-jerk.
Last week I took an early morning shot at the Hous downstream of the Falls Village power station.
This is easy to get to but tricky once you’re in, mostly because of the wires that support the kayak gates.
Look at them sometime. They are liberally festooned with lures and flies.
If you don’t know how to sidearm, you will.
I caught a couple of dinkers on a brown Wooly. Craving surface action, I switched to a gurgler, which is a green foam thing that’s supposed to look like a…I don’t know what it’s supposed to look like.
This failed to interest anything, and it was getting hot.
Just for laughs, I tied a dropper to the bend of the hook on the gurgler and attached a reverse-hackle wet fly designed for Tenkara fishing.
I let this combo drift into the shallow riffle and was pleasantly surprised when an adult smallmouth, with vertical stripes and bronze coloring, took the wet fly.
I rassled it into the net, got my exciting photo, released it and immediately left.
It’s important to know when you’ve got a good exit line.
Dancers from Pilobolus will perform at the NWCT Arts Council spring fundraiser on April 26 in Washington Depot, Conn.
On Saturday, April 26, the Northwest Connecticut Arts Council will host a special evening, Arts Connected, their spring fundraiser celebrating the power of creativity and community. Held at the Bryan Memorial Town Hall in Washington Depot from 5 to 8 p.m., this event brings together artists, performers, and neighbors for a magical night filled with inspiration, connection and joy.
Award-winning designer and arts advocate Diane von Furstenberg and her granddaughter Antonia Steinberg are honorary co-chairs of the event. Their shared love of the arts informs the spirit of the evening.
Antonia Steinberg, above, President of Bucks Rock Camp in New Milford that she first attended as a camper when she was ten years old. Antonia is co-chair, with her grandmother Diane Von Furstenberg of the NWCT Arts Council fundraiser.Provided
“As someone whose life was profoundly shaped by the arts — as a child at Buck’s Rock and now as President of its Board — I’ve seen firsthand the transformative power of the arts; how creative spaces can empower young people, build community, and nurture well-rounded problem solvers. That’s why I’m so honored to co-host the Northwest CT Arts Council Gala. Their work in supporting artists and cultural organizations across Connecticut is essential,” said Steinberg.
Von Furstenberg’s influence in fashion and culture, and Steinberg’s leadership at Buck’s Rock reflect the intergenerational impact of the arts,” said NWCT Arts Council board president Sunday Fisher. “Their participation underscores the power of creative expression as a defining force in our community.” Steinberg is the president of Buck’s Rock Camp, a non-profit performing and creative arts camp in New Milford that she first attended as a 10-year-old camper.
Diane Von Furstenberg, co-chair of NWCT Arts Council fundraiser.Provided
Steph Burr, executive director at NWCT Arts Council, added, “Events like Arts Connected are at the heart of what we do — bringing people together, lifting up artists, and reminding us of the essential role creativity plays in our lives. The Council works year-round to ensure the arts not only survive but thrive across our region.”
NWCT Arts Council is a nonprofit that serves as advocates for the arts. Through regranting efforts, public art support, legislative advocacy, and their regional events calendar, they work to ensure the arts are accessible and celebrated in every corner of their 25-town service area.
Burr continued, “The arts in Northwest Connecticut are vibrant, evolving, and deeply rooted in community. There’s a quiet but powerful creative pulse running through these hills — one that reflects the resilience, diversity, and passion of the people who call this region home. Over the past few years, artists and cultural organizations have navigated challenges with heart and determination, despite ongoing funding volatility. Through our advocacy and collaborative programming, we ensure the arts remain essential and accessible in our community.”
Highlights of the April 26 fundraiser include performances by Pilobolus, Sherman Chamber Ensemble, Ysanne Marshall & the Lotus Blues, hand pan musician Jeremy Driscoll, and a curated art exhibition, NW25 Gallery, featuring local artists. Sponsors Litchfield Distillery, Kent Falls Brewing Company, and Executive Cuisine catering will provide the food and drink.
Ticket prices are $125, open to guests 21 and older, available online at givebutter.com/artsconnected.For more information or to ask about sponsorship opportunities, email Katherine Pelletier at katherine@artsnwct.org or visit givebutter.com/artsconnectedsponsorship.
Arts Connected is made possible thanks to the generous support of sponsors; Antonia Steinberg is sponsoring all the artists for the event and Valiant Energy and Torrington Savings Bank are presenting the event.Additional sponsors include William Raveis Lifestyle Realty, Litchfield Magazine, Housatonic Heritage, Art Bank 7, Harney & Sons Teas, Aquarion Water, The Lost Fox Inn, George Home, NKYV Rituals, and Litchfield Distillery.
Lily Al-Nemri, founder and owner, and artistic director and painter Rudy Vavra at Tyte medispa and gallery in Millbrook.
The painter Rudy Vavra once created floor collages in Texas. You could, in theory, lie on them. Now, years later and much farther north, his work graces the walls of a medispa in Millbrook, New York where he also serves as the artistic director. You can still lie down, just not on the art. Instead, you might be undergoing an EmFace non-surgical facelift while surrounded by twenty-two of Vavra’s paintings.
The space, Tyte Medispa in Millbrook, is equal parts gallery and treatment center, the brainchild of Lily Al-Nemri, a medical aesthetician and now gallery owner. She also owns the nail salon, Bryte, down the street on Franklin Avenue. A few years ago, feeling she was outgrowing that space, she looked to expand and, just a few blocks away, found this rather sprawling maze of rooms with the gallery that now inhabits the grand central ballroom. “This used to be a gym,” she said. “It was way more than I was looking for, but I went for it.”
Vavra, a self-professed “painter’s painter,” has spent decades layering pigment in his barn-turned-studio in Milan, New York. “I find paintings as much as I make them,” he mused. “Some happen quickly, others are slow.” Of this latest collection, he said, “Some people call them busy. I think they’re slow.” His marks accumulate with a kind of devotional persistence, like petals left at a shrine. “A while ago, I saw a photographic image of a shrine,” Vavra said. “I don’t know if it was a Buddhist shrine or what, but there were colors on the ground all around it, and I realized they were the stains of flowers left in the worship. That’s very similar to the way I paint.”
The collection of paintings on view at Tyte — some as large as a shrine — are meditations on color, inviting the viewer to slow down. Or speed up. Whether viewers are activated or soothed by the images is neither Vavra’s intention nor within his control. Still, he said that watching people interact with the work has been a real treat. “Now that I have my paintings here, I get to see them all together,” he said. “It’s only when they’re all together that I see how they talk to each other. It’s interesting to see people come in and go to have a treatment and come out. It’s a very interesting connection.”
And what is the connection? What could be a disjointed pairing — aesthetics and aesthetic medicine — has become, improbably, a perfectly logical continuum. “They’re related in a sense,” Vavra said.
Aly Morrissey
Al-Nemri, a former radiologist who taught for over a decade at Westchester Community College, is no stranger to layering, precision, or the quiet rigor of care. Her incredible menu of services — Botox, body contouring, pelvic floor therapies — are the cutting edge of the industry. Of Vavra, Al-Nemri said, “I fell in love with his work, and we just hit it off.” It’s a kind of kismet that seems to hover over the place. Pilates mat classes take place twice a week in the main gallery space and both Al-Nemri and Vavra have loved watching clients pause, eyes caught by a stripe of cerulean or a vibrating cluster of brushstrokes. “Something will catch their eye,” said Vavra. “They’re looking for something in it.”
So, this gallery-meets-spa (or is it the other way around?) has plans. Vavra will be curating six shows a year. Laurie Adams’s photographs will be hung in June, a group show of local artists will share the space in July and August, and a Fall show will feature twenty women artists, which Vavra is eager to anchor with a piece by Judy Pfaff. “There’s nothing like this on this side of the county,” he said of the light drenched space. “It’s been a bit sleepier here. We want to wake it up.”
He means it kindly; sleep certainly has its place. But here in Millbrook, amid the low drone of machines designed to rejuvenate, something unexpected has emerged. Perhaps that’s what both Al-Nemri and Vavra are really after — not the quick fix or the final image, but the suspended moment, the long look. A face seen anew. A painting revealed slowly, in silence.
As for Vavra’s curatorial process? “I just unpack the paintings, lean them against the wall, and look,” he said. “Eighty percent of the time, they’re already where they’re supposed to be.”