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Murky waters

Eric Schmitz came back from the holidays last December and found a letter about plans to develop 17.5 acres on two parcels in front of Western Ridge in Crozet. “I know it well,” he says. “The future development was on top of a stream.” But on the Albemarle County map, the stream was no longer there.

He attended a Crozet Community Advisory Committee meeting about Montclair, the proposed 157-unit development off Route 240, where he was told that when county officials went out there, there was no stream, says Schmitz. “My eyes weren’t lying.”

Why a county stream, which has been on maps for 170 years and is presumably protected by Albemarle’s Water Protection Ordinance, was removed—along with its 100-foot buffers on each side—from county GIS maps shortly before the Board of Supervisors approved the Crozet Master Plan in October 2021, and before a developer asked for a rezoning to build on the stream site, is not crystal clear. 

“We don’t have a good sense of why that happened,” says Joe Fore, chair of the Crozet Community Advisory Committee, which had been reviewing the master plan. “The first thing that seemed strange was that it was very late in the process. People felt blindsided. There was no chance to review.”

The plans to rezone the site sans stream, originally reported by Crozet Gazette, drew widespread opposition among Crozetians, who formed Crozet United and filed a citizen suit under the Clean Water Act against the U.S. Army Corps of Engineers. The basis of the complaint, says Schmitz, is that the developer piped a stream under an invalid permit.

On March 20, 2021, county engineer Frank Pohl and the Army Corps’ Vinny Pero found a stream on the property, according to an email from Pohl obtained under the Freedom of Information Act. By August 31, 2021, Pohl says the map will change because the owner of the parcel—Highlands West LP—had piped a section of the stream. 

During summer 2021, Montclair’s engineer, Justin Shimp, buried a 203-foot portion of the stream, says an email from Shimp Engineering. The county did not require a permit because Shimp said he was moving under 10,000 square feet of earth, explains Pohl in a January 21, 2022, email to Schmitz and Albemarle County Supervisor Ann Mallek. 

Shimp received a verbal okay from the U.S. Army Corps of Engineers under its Non-Reporting Nationwide 18 permit, says the email. Once the stream was underground, the segment no longer required a 100-foot buffer.

Shimp, who has been stalled on other projects involving water, most recently the 0 East High Street 245 apartments in the Rivanna River floodplain, did not return multiple phone calls from C-VILLE.

Through the course of 168 pages of FOIAed emails, county officials began to say the Army Corps had designated the remaining segments of the stream “ephemeral,” making them eligible to be removed from the map as well.

Not true, say three Corps officials, who denied ever reclassifying the stream as ephemeral in a July 22 email. Nor does the group determine whether to remove a stream from the map, says the Corps’ Pero. “We just determine whether it’s a ‘water of the United States.’” And he confirmed that the Montclair stream was, indeed, a “water of the U.S.”

Schmitz calls the ability to pipe streams without county oversight a huge loophole, and he believes a developer could bury an entire stream by doing it in segments. He worries that the same dodging of the Water Protection Ordinance could happen again. “Everyone understands it’s broken,” he says. 

Even Mallek, whose White Hall District includes Crozet, had a hard time getting a straight answer about the “stream erasure.” In a September 5 memo to her fellow supes, she writes, “Despite repeated requests from me since January and again March 2022, and from residents at CCAC and to County staff by community members, the only documentation presented for erasure of the stream in the last days of adoption of the Crozet Master Plan is a reported word of mouth declaration by the [Corps] of non-stream status. Now we learn that report is not accurate.” 

Despite the Corps’ assurance that the stream existed, Community Development Director Jodie Filardo announced at the September 6 supervisors meeting the hiring of an outside consultant to determine whether the two unpiped segments of the stream were, in fact, intermittent streams that required 100-foot stream buffers under the county’s Water Protection Ordinance. 

Filardo noted a “conflict of interest” with county engineer Pohl, who used to work for developer Vito Cetta. County spokesperson Emily Kilroy clarifies that Filardo used “conflict of interest“ in a “colloquial sense,” not a legal one implying financial interest. “There was a concern there may be the perception of a conflict because over a decade ago he worked for the applicant.”

On October 13, Ecosystem Services determined both stream segments were intermittent, and Pohl agreed, saying in an October 19 letter to the property owner that they would be added back to the county GIS stream buffer mapping.

Highlands West hired its own consultant, Wetland Studies and Solutions, which determined part of Segment 2 and all of Segment 3 are ephemeral. On November 18, Shimp filed a notice of appeal with the county.

With the stream buffers back—at least at the moment, Cetta says he plans to resubmit a smaller, 77-unit project in the next month or so. The revised Montclair will have 20 villas in the $625,000 to $700,000 range, and townhouses for $425K to $475K, with 12 carved out as affordable units for Habitat for Humanity.

Asked if he had any insights about why a stream was removed from the GIS map of a parcel he planned to build on, Cetta says, “That’s a county question.” 

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News

In brief

Youngkin announces mental health reforms following shootings

A day after a manager shot and killed six people and injured several at a Walmart in Chesapeake before killing himself on November 23, Gov. Glenn Youngkin announced his administration will propose legislation to the General Assembly this winter that would increase mental health resources and address staffing shortages, reports the Virginia Mercury.

“It is really a moment to reflect on the state of mind of the nation and Virginia and this mental health crisis we know we are in the middle of,” Youngkin told reporters during a Thanksgiving ceremony, “and to work together to chart a path forward to address it.”

However, Youngkin refused to say if he would support legislation restricting gun access. In response to the Walmart and UVA shootings, Virginia House Democratic legislators said they would push for more gun control reforms—including adding age restrictions on certain weapons, creating limits on high-capacity magazines, and banning ghost guns—during the 2023 legislative session.

“I fundamentally believe that there is going to be a moment to talk about these things,” said Youngkin, a self-described lifelong NRA member, of gun control. “Today’s not the time. Today’s the time to support families and bring people together.”

The governor will outline his budget priorities on December 15.

Hudson vs. Deeds

Democratic Del. Sally Hudson is running again to represent Charlottesville in the General Assembly—this time, in the Virginia state Senate. Hudson, who was first elected in 2019, will face off against incumbent Democratic state Sen. Creigh Deeds, who has represented the former 25th District since 2001, for the newly redrawn 11th District seat, which includes Charlottesville and Albemarle, Nelson, and Amherst counties, along with the western part of Louisa County. 

Thanks to redistricting, every state House and Senate seat will be up for election next year. Republican Sen. Amanda Chase currently represents the 11th District—but under the new maps, the district leans strongly Democratic, according to the Virginia Public Access Project.

In the senate, Hudson, a UVA professor and economist, wants to work on bigger, longer-term projects, reports The Daily Progress. 

“From investing in strong schools to protecting the planet that we call home,” said Hudson in a November 21 announcement, “my priorities will always start with the top concerns I hear from voters every day.”

“The progress we’ve made since I’ve been elected is incredible,” Deeds told the Progress. “With just one Senate seat away from a Republican trifecta, and with so much on the line, we cannot take any chances. I’m running for re-election to continue to be the voice that Albemarle, Charlottesville, and central Virginia have come to rely and count on.”

A Democratic primary date has yet to be announced. 

In brief

Laid to rest

The New England Patriots loaned a plane to the University of Virginia football team for players to travel together to the funerals of their three teammates who were shot and killed on November 13. The team attended D’Sean Perry’s funeral service in Florida on November 26, and Devin Chandler’s memorial service in Virginia Beach the following day. A celebration of life for Lavel Davis, Jr. will be held on November 30 in South Carolina.

BOS bid

Democrat Mike Pruitt is running to represent the Scottsville District on the Albemarle County Board of Supervisors. During a November 26 campaign rally, Pruitt, a Navy veteran and UVA law student, said he planned to prioritize affordable housing, reports Information Charlottesville. “We need to invest in our nonprofit partners [and] fight for stronger inclusionary zoning and proffers. … The folks who actually work in our schools and our transit system and our police force often have to commute … because they can’t afford to live here,” said Pruitt, who grew up in a small town in Anderson County, South Carolina. Current Scottsville representative and board chair Donna Price is not running for re-election, and has made a bid for the Democratic nomination for the new 55th District House of Delegates seat.

Person of interest 

The Charlottesville Police Department has asked the public to help identify a person of interest associated with a larceny that occurred on East Jefferson Street on November 27. The department has provided no further details about the crime. Anyone with information can contact Detective Nathan Stein at 970-3374.

PC: Charlottesville Police Department

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Arts Culture

Sound choices

Mariana Bell 

Still Not Sleeping (self-released) 

In the 19 years since her debut album, Mariana Bell has matured. On her eighth studio LP, Still Not Sleeping, Bell’s voice, production, and songwriting talent shine as she blurs the lines of vintage pop and country rock in songs that celebrate life. Bell’s new songs evolved as she navigated a journey through trauma and the difficult search for joy that followed. Bell wrote “Heart of Honey’’ for a dear friend who wanted a song in the vein of Otis Redding or John Prine. But when she performed the song for him, he declined it, saying the piece was so beautiful it had to stay with her. This friend died tragically in the spring and Bell says, “He is the impetus and the inspiration of the record.” With only nine songs on the album, undefinable in genre yet distinguished by passion, you’ll want more from Bell (released September 22).

Schuyler Fisk’s We Could Be Alright.

Schuyler Fisk 

We Could Be Alright (Cassidy Barks, Inc) 

We Could Be Alright begins a new era for Schuyler Fisk. The singer-songwriter launched her music career in her early  20s with a songwriting partnership with Joshua Radin and a contract at Universal Records. She toured across continents with major artists such as Sheryl Crow, and made an appearance on the Billboard Heatseekers chart, but eventually left the label to pursue other interests. (Fisk, the daughter of Academy Award-winner Sissy Spacek and production designer Jack Fisk, is also an actress.)

We Could Be Alright arrives after more than a decade, and it’s laced with hope and heartbreak, melancholy and maybes. Local favorites Sam Wilson and Carl Anderson are featured—on “Take Back Everything,” a powerful song full of regret while wishing an old lover well, Anderson sings and Wilson gets writing credit.

The album is poignant and beautiful, filled with the right amount of sadness for the winter solstice. But, if you’re looking for a laugh, Fisk currently stars alongside her mother and Dustin Hoffman and his son, Jake, in Sam & Kate, a comedy that recently hit theaters (released November 2022).

Nathan Colberg’s Dream On, Kid (Reimagined).

Nathan Colberg 

Dream On, Kid (Reimagined) (Tone Tree Music/ Nathan Colberg) 

The cure to seasonal depression can be a lot of things, but one option comes in the pure pop happiness of Nathan Colberg’s Dream On, Kid (Reimagined). Colberg grew up in Charlottesville, and while a fourth-year at UVA, he started to share his original songs in living rooms and at small parties. In March of 2020, he launched his first headlining tour with a sold-out show at The Jefferson Theater. Unfortunately, when COVID shut everything down, Colberg’s tour was no exception. 

The Dream On, Kid EP was released earlier this year, but Colberg wanted more for these songs. He says of the new release, “It’s a sibling, reimagined into a different genre.” Colberg transforms “Hold You Tonight’’ by adding strings and giving it an orchestral treatment, which turns the hype power-pop dance anthem into a ballad. If you can’t get enough of Colberg’s infectious pop style, Dream On, Kid is a worthy addition to your music collection (released September 2022).
—Samantha Federico

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Arts Culture

Pick: Pigeons Playing Ping Pong

Psychedelic funk band Pigeons Playing Ping Pong has played more than a thousand shows across 44 states since its inception at the University of Maryland over a decade ago. “When touring shut down in 2020, we gained immense perspective,” says guitarist and vocalist Greg Ormont. “Now more than ever, we recognize that you only get one life, so you might as well live it to the fullest and lift people up in the process.” The group’s sixth album, aptly titled Perspective, translates these joyous realizations into 12 groove-filled songs, including the easy-flowing “Sir Real,” and “Elephante,” an energetic, horn-filled tune that’s overflowing with catchy songwriting.

Friday 12/2 & Saturday 12/3. $29.50-55, 7:30pm. Jefferson Theater, 110 E. Main St., Downtown Mall. jeffersontheater.com

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News

Meet Coach Mox

When Amaka Agugua-Hamilton was growing up in Herndon, Virginia, she didn’t want to be a coach.

Long before she earned the nickname “Coach Mox” as an assistant coach at VCU, or recorded a historic inaugural season as head coach at Missouri State, or was named the sixth head coach of UVA’s women’s basketball in March, Agugua-Hamilton did not plan to be on the sidelines.

She wanted to be the first woman to play in the NBA.

Agugua-Hamilton saw herself in Charles Barkley, who muscled his way past players six inches taller to become one of the best rebounders in basketball history. At 5-foot-11-inches tall, she needed similar tenacity to earn a spot on a college roster. When she was accepted at Hofstra in the early 2000s, her dream—especially since the WNBA was founded—felt within reach.

Then, her knee gave out.

The injury sidelined her for the majority of her freshman season. She was considering transferring by the time Felisha Legette-Jack, now head coach at Syracuse, took over and shocked Agugua-Hamilton by naming her team captain as a sophomore.

“At first, I was like, ‘Are you sure? Me?’” says Agugua-Hamilton. “But she saw something in me, and it’s something that a lot of people had already brought to my attention, but I just didn’t really tap into it yet.”

Agugua-Hamilton’s injury troubles persisted throughout college. She fought through everything from stress fractures in her feet to sciatica in her back. One of her six knee surgeries forced Agugua-Hamilton to redshirt her senior year, so she spent it on the sidelines with the coaching staff. 

“I started seeing how my teammates reacted to me,” says Agugua-Hamilton. “I got a lot of gratitude, and it filled me up, helping others and being a mentor to others. That’s where I started falling in love with coaching.”

Agugua-Hamilton received offers to play professionally overseas, but when her surgeon mother looked at scans of her daughter’s knees, she turned to Agugua-Hamilton and warned her she had to stop playing basketball if she ever wanted to be able to play with her kids.

“My vision of this program is the Final Fours, the Elite Eights, because that’s what I grew up knowing about UVA.” Coach Mox. Photo: Tristan Williams.

Into the thick of it

After honing her leadership skills with assistant coaching jobs at VCU, Indiana, and Old Dominion, Agugua-Hamilton worked her way up to associate head coach at Michigan State.

Then, in early 2017, head coach Suzy Merchant fainted on the sidelines during a game and took time off to recover. Suddenly, Agugua-Hamilton was an interim Big Ten coach in charge of everything from game planning to radio interviews. “My head was spinning for the first couple of weeks,” she says. “And then, I found a rhythm.” 

This trial by fire ensured Agugua-Hamilton was ready two years later, when she was offered her first full-time head coaching position at Missouri State. 

“People there told me, ‘You know, as a first-time head coach, it seems like this isn’t your first rodeo,’” she says. “And I think it’s all because of those experiences I had at Michigan State, so I’m grateful for that. I’m also grateful that Suzy’s in better health.”

Merchant, who still coaches Michigan State today, recovered and was able to attend Agugua-Hamilton’s wedding that May, when Agugua-Hamilton tied the knot on a romance that, like her career, blossomed beside a basketball court. She met her husband, Billy, at the San Antonio Final Four, while she was an assistant coach at Indiana and he was an assistant at Savannah State. The two now have a son—and with every lingering twinge of old injuries, Agugua-Hamilton remembers how close she came to not meeting him.

As Agugua-Hamilton prepared her family to move to Springfield in 2019, she knew she was headed for more than just her first head coaching gig. She was also getting ready to be the first African American woman coach in Missouri State history. 

Some would have seen it as pressure. She saw it as an opportunity.

Her 26-4 record in 2019-20 marked the best inaugural season by a head coach in the history of the Missouri Valley Conference. “I’m a believer and a God-fearing woman, and I truly believe I was called there,” says Agugua-Hamilton. “It’s a community that’s more of a conservative community, and maybe I was able to open some closed eyes.”

Despite the heartbreak of that first promising postseason being lost to COVID-19, Agugua-Hamilton returned to lead the Lady Bears to a 16-0 conference record and the NCAA Sweet 16 in 2020-21. She hopes her legacy will not be just that she broke racial barriers, but that she excelled at her job while doing so.

“At the end of the day, I do want to represent my community, and I want to make sure women of color have a platform and get more opportunities to get jobs, and to lead, and to help grow the next generation,” says Agugua-Hamilton. “But at some point, I just want to be known as a great coach, no matter what my skin color is.” 

The undefeated UVA women’s basketball team, led by Ruckersville’s Sam Brunelle, has uplifted the university community during a heartbreaking time. Photo: Tristan Williams.

Coming home

UVA athletic director Carla Williams was part of the coaching staff that took Georgia to two Final Fours and the 1996 NCAA championship, so she knows what a good coach looks like. And she knew she’d found one in Agugua-Hamilton during their first Zoom call. 

“Coach Mox talked about academics first, and developing young ladies off the court first,” says Williams. “Once I realized how passionate she was about their lives outside of basketball, I already knew she was a great coach.”

When Williams extended the offer to coach at UVA, Agugua-Hamilton jumped at the chance to move her son and husband closer to extended family—and also to make the leap from mid-majors to the ACC. 

It took her just two weeks to secure a high-profile commitment from Notre Dame transfer Sam Brunelle. After leading ACC freshman in scoring in 2019-20, Brunelle’s next two seasons were cut short by injuries, the last of which required intensive surgery last summer. Agugua-Hamilton and her staff have helped Brunelle through the agonizing process of relearning how to use her healing shoulder.

“I’m one of those coaches that holds kids out a little bit to make sure that they’re prepared to come back physically, but also mentally,” says Agugua-Hamilton. “Coming back from injuries is really taxing on the mental side, and that sometimes is overlooked.”

This guidance is part of why Brunelle, who first met Agugua-Hamilton as the former No. 1 overall high school recruit out of Greene County’s William Monroe High School, says Virginia’s new coach played a major role in her transfer decision. “Coach Mox has been through it as well, with her knee injuries, and she really understands where I’m coming from with the adversity I’ve had to face,” says Brunelle. “It’s really nice to have someone who understands that in the forefront of helping you with rehab.”

Last year, Virginia women’s basketball missed the NCAA tournament for the fourth straight year after winning just five of 27 games. 

That’s not the UVA Agugua-Hamilton remembers while watching coach Debbie Ryan and Dawn Staley, Wendy Palmer, and Tammi Reiss play in orange and navy blue.

“I understand the program kind of went on a downward spiral the last couple of years, but my vision of this program is the Final Fours, the Elite Eights, because that’s what I grew up knowing about UVA,” says Agugua-Hamilton.

The first thing she wanted to do to jolt the Cavaliers out of this spiral was change the team culture, which she found was easier than expected. “I think I was a little bit surprised with how hard we work, and how competitive we have been from day one of getting on the court with them,” says Agugua-Hamilton. “I thought that was going to be something that I was going to have to change a little bit, just based on last year. But our kids want to win, and they work hard.”

With family culture in place, Agugua-Hamilton can focus on emphasizing her players’ versatility and athleticism with up-tempo basketball. Alongside the bulk of her Missouri State coaching staff, she pushes her seven returnees, two transfers, and two first-years through energetic practices. 

Shooters rotate briskly around the floor. Defensive drills are frenetic. Agugua-Hamilton is readying her players to push the ball.

Whenever Williams stops by practice, she sees joy in everyone’s face, even through the pain. “We’ve got a long way to go, but we’ve come a long way,” says Williams. “I think that she is exactly what college athletics, women’s basketball, and UVA athletics needs, and that’s a coach who cares about the student athlete outside of their sport and is truly invested in their development as people.”

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Arts Culture

Stretching the canvas

“One of the best things about collaborating with another artist is I learn a great deal about the other person’s sensibility to materials, aesthetics, and mark making,” says artist Diego Sanchez. His work is currently on view at the Quirk Gallery, together with fellow Richmonder Mary Scurlock.

In “Conversations,” each artist has eight paintings on display, which give the viewer enough information to understand and appreciate the artists’ individual approach and style, while providing a key, of sorts, to the intricate dance of give and take apparent in the 10 joint pieces. The artists worked in layers, on top of one another’s contribution, exchanging paintings back and forth three to four times, keeping a tally in pencil on the back of each work. 

Looking at the individual pieces, you might not put the two artists together. Sanchez favors bold color and geometric shapes, while Scurlock prefers a more streamlined palette and blurred edges. But spending time with their paintings, you begin to see that both artists employ a similarly diverse selection of media, and devote the same attention to developing their surfaces with layers of paint, wax, and paper.  

Sanchez’s paintings are hung in the front part of the gallery, where the Quirk’s soaring space can easily accommodate their exuberance. Scurlock’s are in the back, where the ceilings are lower in a quiet, more meditative area that suits these contemplative pieces.

One marvels at all that’s going on in terms of color, composition, and medium in a work like Sanchez’s “Composition #151.” The easy allure of turquoise and cobalt is tempered and elevated into something much more sophisticated by passages of dun and gray. The rectilinearity of the overlapping planes is subsumed in places by broad brushstrokes. Perfect orbs of blue dance across the surface, encountering more amorphous circular shapes. Partially obscured targets are “visual representations of ‘centering,’ of being mindful and present in our busy lives,” says Sanchez. They also summon Jasper Johns, an artist Sanchez admires, as does the mini crosshatch rectangle. Sanchez makes this his own by seasoning it with calligraphic scrawls of black and an odd tawny blob. Near the center, a lavender pastel rectangle dotted with burnt-orange dots more than holds its own against the more saturated passages.

“Composition #141” has a completely different effect. Here, it appears Sanchez has scraped off the background paint, leaving behind an expanse of fractured lines reminiscent of ceramic crazing. Whether it’s the light hue, or the network of lines that turn this flat expanse into a topographical map, the background appears quite distant with the strange shapes rendered in aqua, gold, and burnt sienna, floating above.

You might think it would be hard to compete with all the bright color and bold marks at the front of the room, but Scurlock’s paintings have a slow-burn heft and a presence that really gets under your skin. She relies heavily on the use of rubbings in her work. Instead of headstones, she goes after things like manhole covers, signs, and inscriptions, or even natural items. It all depends on her surroundings and what she wants to capture and convey about it, because, as she explains, “The intention of these paintings is to create a feeling—a space that mimics a place.” 

Back in the studio, she begins by adhering old paper—letters or clippings she’s saved—onto her panels. She then applies color, followed by the rubbings. These are done on delicate rice paper and are transparent, so when they are embedded in the surface they’re still legible. “The way I work, you put one thing down and something else changes, then you have to change that area so it works with the other area,” says Scurlock. “So, it’s hard to save things. But even though you can’t see them, they’re there. The idea is still there.” 

In “Ydra,” your eye is drawn to the graphically bold Greek lettering, especially the delta and zeta at center right that stand out against the vaporous clouds of pigment. There is the suggestion of houses on a hillside, evoking a Greek village. But it’s fragmentary, obscured here and there by blotches and daubs of shimmering paint. Similarly, incised lines and scratches form words or shapes, but they’re disjointed and incomplete. Just as memory does not present a perfect image, Scurlock intentionally renders this Saronic island in indistinct form.

With “Hatteras Village,” Scurlock introduces faded pink and dull green into the mix. Here, the composition is flatter, reflecting the topography of the subject. Again, we see bits and pieces, the eaves of a house possibly in the upper left, writing at the right center, and various circular shapes and squiggles scrawled across the surface.  

Within the collaborative pieces, you recognize the distinctive traits of each artist. There’s the color and geometric forms favored by Sanchez, but they’ve been softened, their tones and edges blurred by Scurlock’s hand. In doing so, she disturbs the integrity of those shapes and hues, shifting the timbre of the work to something more tenuous and uncertain.

Many artists would balk at the idea of letting go of a piece they’ve labored over and offering it unconditionally to another to augment as they wish. But the exercise can be remarkably rewarding, introducing new techniques and approaches, and producing exciting collaborative work.

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Arts Culture

Pick: Women in Film

The Indie Short Film Series returns with the Women in Film edition, bringing a new slate of stellar flicks to the big screen. This installment features up to seven domestic and international shorts, written or directed by women from a variety of genres. Stick around after the credits for a panel discussion with the filmmakers as they share their processes and stories, and cast your vote for the Audience Choice Award.

Saturday 12/3. $20, 7pm. Vinegar Hill Theatre, 220 W. Market St. lifeviewmarketingandvisuals.com

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Arts Culture

Flour garden

Chris Martin has baked in cities from Chicago to San Francisco, but she has rarely found local ingredients like those in central Virginia.

That’s one reason bakernobakery, her pop-up bakeshop, boasts one of the most unique menus at the City Market.

“Sourcing ingredients is really a delight here in Charlottesville,” says Martin, creator of delicacies such as raspberry and bay leaf tres leches and whisky ginger blondies, among others. “The climate and the location are really incredible for growing a lot of produce.”

Not only do locals find inventive methods of growing non-native produce—one of Martin’s vendors keeps a greenhouse hot enough to grow citrus year-round—but the woods around Charlottesville are thick with treasures like the paw-paw fruit, recognizable by its tropical-looking vines.

The paw-paw has a flavor Martin describes as a mixture of banana, mango, and pineapple.  Her version of a bostock—typically a slice of brioche soaked in simple syrup and covered with almonds—is filled with paw-paw pastry cream and paw-paw purée, then topped with crunchy nutmeg. She also gives the French pastry a Southern twist by substituting a slice of pound cake.

After sharing a city market tent with local company SoSS, Martin decided to incorporate SoSS’s small-batch hot sauce into a pastry. She folded charred onions into cream cheese filling, then added soy sauce, lemongrass and SoSS’s Burger Venom to create an explosively flavorful Danish.

Martin is currently prepping fall ingredients for holiday cookie orders. She jellies persimmons by soaking them in simple syrup for weeks. She purées regional kabocha, a light, almost floral-tasting winter squash, which pairs well with white chocolate and candied ginger. And the creamy paw-paw purée is a perfect match to the white chocolate ganache inside her hand-painted bonbons.

When customers are intimidated by these new flavors, Martin suggests starting with her apple fritters, and that’s usually enough to convince them to try more.

“Since my background is in fine dining, I’ve had a lot of exposure to different techniques and different flavors,” she says. “It allows me to expand and build a level of trust with a lot of my customers.” 

Learn more about Martin’s creative baking at bakernobakery.com.

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Arts Culture

Pick: Phil Kline’s Unsilent Night

The streets of Charlottesville are alive with the sound of music at Phil Kline’s Unsilent Night, an interactive soundscape designed specifically to be heard outside during December. Bring your walking shoes and a speaker (phone, bluetooth, boombox) for a luminous promenade through downtown Charlottesville. Each participant will play one of four tracks, creating a moving sound sculpture that’s different from every listener’s perspective.

Wednesday 11/30. Free (registration required), 7pm. Ix Art Park, 522 Second St. SE. wtju.net

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Arts Culture

December galleries

Baker Gallery Walker Fine Arts Center, Woodberry Forest School. “New Works,” landscape paintings featuring scenes from Charlottesville by Richard Crozier. Through December 31. First Fridays reception.

The Center at Belvedere 540 Belvedere Blvd. A small-works open exhibit featuring over 30 artists, including Meredith Bennett, Susan Trimble, Joan Griffin, Frannie Joseph, and Judith Ely. Through December 19.

Chroma Projects Inside Vault Virginia, Third St. SE. “Listen,” paintings and sculptures by Aggie Zed. Through December 17. First Fridays reception.

C’ville Arts Cooperative Gallery 118 E. Main St., Downtown Mall. “Reclaimed,” a colorful mixed-media collection from Sigrid Eilertson. First Fridays opening.

The Fralin Museum of Art at UVA 155 Rugby Rd., UVA Grounds. “Power Play: Reimagining Representation in Contemporary Photography,” “Earthly Exemplars: The Art of Buddhist Disciples and Teachers in Asia,” and other exhibitions.

Jefferson School African American Heritage Center  233 Fourth St. NW. “Of Another Canon: African American Outsider Art,” includes works from 11 African American artists. Through January 7. 

Les Yeux du Monde 841 Wolf Trap Rd. “Perspectives on Place,” paintings that offer differing perspectives on place from Richard Crozier and David Hawkins. Through December 22. Lunch and conversation with artists December 4, 12:30pm.

McGuffey Art Center 201 Second St. NW. On December 4, Winterfest, featuring family-friendly art activities, a scavenger hunt, music, food, fire dancer, and more. Through December 31, the Holiday Show and Shop features two floors of original art, home goods, prints, cards, and jewelry. First Fridays celebration with live music and a screening of Horse Teacher, a documentary by Shandoah Goldman. 

New City Arts 114 Third St. NE. David Askew considers their relationship with social media through paintings of posted selfies in “i decided to do nothing (about everything).” Through December 22. First Fridays opening, 5pm.

Phaeton Gallery 114 Old Preston Ave. “Winter’s Edge,” new works by Cate West Zahl that pay homage to the simplification that takes place during the winter season.

PVCC Gallery V. Earl Dickinson Building, 501 College Dr. Two exhibitions from photographer, scientist, and conservationist Michael O. Snyder. “The Mountain Traditions Project” showcases photographs and oral histories from the Appalachian region. “Our Changing Climate: A Visual Chronicle” features works from Snyder’s former students. On December 3, the annual PVCC Pottery Club Sale.

Quirk Gallery 499 W. Main St. “Conversations,” recent individual mixed-media works by Mary Scurlock and Diego Sanchez, as well as nine works that are the result of months of collaboration between the two artists. Through December 11.

Ruffin Gallery 179 Culbreth Rd., UVA Grounds. “Breaking Water,” collaborative works from Calista Lyon and Carmen Winant. Through December 9.

Second Street Gallery 115 Second St. SE. In the Main Gallery, “Her Deeds,” mixed-media installations by Mariana Parisca. In the Dové Gallery, “Visions of Mary,” linocut prints, painting, and installation by Ramona Martinez. Through January 21. First Fridays opening.

Studio Ix 969 Second St. SE. “ar.ti.fac.tu.al,” works from local artists Kim Boggs and Mike Fitts. Through January 19. First Fridays opening.

Telegraph Art & Comics 211A W. Main St., Downtown Mall, and 398 Hillsdale Dr. Todd Webb’s annual “Picture Show” is on display at both locations. Through January 15. First Fridays reception at 5pm at the downtown location. 

Vault Virginia 300 E. Main St. “Final Bill,” an exhibition from Bill Atwood in a variety of mediums, including ink on newsprint, mixed-media collage, and sculpture. Through December. First Fridays reception.

Yellow Cardinal Studio 301 E. Market St. First Fridays open house with various artists and artworks. Also open Friday and Saturday afternoons from 1-5pm during December.