One thing about wood: It’s not shiny.

Sure, you can sand it and varnish it and make it all smooth and shiny. But it doesn’t start out shiny.

Aluminum, on the other hand, is shiny. From minute one, it’s smooth and shiny, and if a ray of sunlight falls on it, it even sparkles.

The other thing about aluminum is that it’s trickier to cut than wood. And of course, while wood compresses when you attach one piece to another, aluminum doesn’t give, a factor that must be accounted for when making the complex calculations so all of the parts will fit together.

But other than those sort of minor details, building a boat out of aluminum is strikingly similar to building one out of wood. Walter Ansel, senior shipwright in the Museum’s Henry B. duPont Preservation Shipyard, has spent the last two years overseeing construction of an aluminum garvey push boat that will be added to the working vessels at Mystic Seaport this spring.

Slated to be named Volunteer, the “little tug boat” will be launched during PILOTS weekend May 5-6. Ansel’s ability to design and build this boat is thanks to a grant he received from the Museum’s  PILOTS Fellowship Program, which provides funding for employees to receive extra training in specialized areas. Ansel is halfway through a four-year Yacht and Boat Design program at the Westlawn Institute of Marine Technology, studying design using all hull structural materials.

So her name derives from her creator’s funding source, but also from the fact that Ansel was assisted over the last two years by volunteers Wayne Whalen and Zell Steever. And while Steever drives over from Noank to work on the boat, Whalen drives up once a month for three days from his home in Cape May, N.J. And they wouldn’t have been able to do it without him, because he’s the fabricator and welder on the team. Steever is the patternmaker and ship fitter.

Volunteer will work alongside the Maynard Bray, a garvey push boat designed and built by Ansel’s father, Willets Ansel, 40 years ago. Maynard Bray is a beloved icon along the Museum waterfront, with her distinctive “pudding” of rope along her bow, which acts as a bumper.Volunteer will have a similar pudding, made by the shipyard’s riggers.

Volunteer will have twice the horsepower of Maynard Bray. She will be used to wash down Museum vessels, pump out water from boats that need it, and push and pull boats and floats into place. If signature vessels like the Charles W. Morgan, Joseph Conrad, or L.A. Dunton need to be moved, Volunteer will be there.

It has been both an education and a labor of love for these three men, as they have worked with Computer Assisted Design (CAD) to shape and cut the parts. The boat is made of marine-grade aluminum, measures 20-feet long and eight-feet wide, powered by an 85-horsepower diesel engine that came from Museum Trustee Barclay Collins’ sailboat. It was refurbished by the engine restoration team in the shipyard, led by Scott Noseworthy and volunteers John Seravezza and Jim Cream.  

Ansel recruited Whalen and Steever to volunteer in the shipyard through his teaching at The WoodenBoat School. He met Whalen 12 years ago at the school, and mentioned to him that the fishing boat Roann was about to undergo a major restoration. Whalen had experience with a similar boat in New Jersey, and so he drove up once a month for three days to work on her. That lasted six years. He has since stayed involved with projects that were in need of welding or fabrication.

Ansel said the experience of building the aluminum boat has been similar to building a plywood vessel. “The welding can be a challenge,” he said, “but sawing the pieces has been relatively easy. The welding had a steep learning curve. And what we learned when we were putting pieces together was that, unlike wood, aluminum doesn’t compress, so we had to adjust the measurements just a little to accommodate that.”

They took advantage of having a high-tech friend in nearby Groton, Peter Legnos, whose company LBI can do precision metal cutting using a water jet. They took their CAD drawings and the aluminum to his shop and he cut it for them, saving them weeks of work if they had done it by hand. It also was far more precise than hand-sawing.

“This has been a total learning experience,” Ansel said. “It’s been exciting to do something completely different.” And if the Museum had purchased a boat like this, it would’ve cost considerably more than the construction has.

They will paint the bottom but they won’t paint the rest of the boat for at least her first year, and Ansel hopes never. “It will be at least a year because we want her to cure and corrode a little,” he said. “When she’s out in the weather, she will turn dull.”

For now, she’s still shiny.

Mystic Seaport is proud to offer Yoga in the Pingo in its new exhibition, “Murmur: Arctic Realities” with world renowned yoga instructor Coral Brown.

The first class will be at 8:30 a.m., Saturday Feb. 10. The second class will be at 5 p.m., Saturday, March 3. Each Vinyasa class (suitable for all-levels) is 75 minutes. Tickets are $18 for members and $20 for non-members. Mystic Seaport general admission is not required to attend the yoga class. Pre-registration is required due to limited space, call 860.572.5331 or visit http://bit.ly/PingoYoga.

“Murmur: Arctic Realities” is a huge kinetic sculpture created by contemporary artist John Grade. Using salvaged Alaskan yellow cedar, Grade has created an intricately carved sculpture (15’ x 38’ x 42’) that represents a pingo, a hill of ice that grows over centuries in the Arctic’s highest latitudes, then collapses, pockmarking the tundra. The steel spines that support the sculpture rise up above it. The 12 spines open and close to mimic the life cycle of a pingo.

“Yoga in museums and galleries has become very popular, and we regularly have requests and suggestions from visitors that we hold yoga classes on our beautiful property,” said Arlene Marcionette, public programs project manager for Mystic Seaport. “So when we were getting ready to open ‘Murmur,’ with the way the sculpture not only embodies an element of the natural world, but also moves, we thought yoga in the ‘Murmur’ gallery was a perfect fit.”

Brown, who makes her home in Rhode Island, is a licensed mental health counselor who draws on her extensive experience in yoga, philosophy, and holistic counseling to provide fertile, open space for the process of healing and transformation. She is a senior Prana Vinyasa Flow teacher and has also trained in the Iyengar and Jivamukti methods. She leads teacher trainings as well as retreats and workshops worldwide.

She also grew up in Alaska.

“I lived in a community called Bird Creek, a peaceful, off the grid commune that my parents and some friends founded,” Brown said. “My parents lived off the land in a very simple way, with a mindful, yogic-like life philosophy, which in the 1970’s was known as being a hippie. When my parents separated I moved to Rhode Island with my mother, but I would go back to Alaska frequently to see my father.”

This will be Brown’s first time leading a class in a museum gallery, and she loves the idea of a sculpture of a landscape as the focus of the room. “It’s pretty phenomenal,” she said. “It’s great to bring the outdoors indoors. For centuries, Yogis have explored the mind, body and the deeper mysteries of life by going out into nature where there are no distractions. A naturally inspired, peaceful environment encourages us to foster the relationship between human nature and nature itself.”

For about a week now, Reilly Donovan has been walking around the Collins Gallery at Mystic Seaport, with a modernistic-looking contraption on his head, carefully stepping over various steel beams, hydraulic pistons, and discarded bubble wrap strewn across the floor.

The careful observer will see the 33-year-old Donovan occasionally point his finger in the air, then point a finger on his other hand, then make a motion as if he were playing with an imaginary sock puppet. He can be overhead saying “Show pingo” every now and again. Then he returns to the laptop he has set up on a folding table in the gallery, and starts tapping away at the keyboard.

This is art — specifically sculpture — in the 21^st century, where modern technology meets carved wood  and fabricated steel. The result is an interactive experience for the museum visitor like never before. When “Murmur: Arctic Realities” opens Saturday, January 20 at Mystic Seaport, visitors will not only be able to walk in and around an intricately carved simulation of an Alaskan pingo created by renowned contemporary artist John Grade, they will be able to see and hear the flora, fauna, and wildlife that lives around that exact land form created using mixed reality technology.

Donovan has been working on the virtual aspect of Grade’s project for just about a year, although it looked far different when the two artists began collaborating in January 2017 then it does now, less than a week before the opening. In its nearly finished form now, “Murmur” utilizes Microsoft’s HoloLens technology to provide the mixed reality experience. As visitors walk in and around the sculpture, the HoloLens headset will show them holographic images of the summertime Alaskan tundra, including grasses, flowers, and bodies of water. They will hear the summer breeze, bird calls, and mosquitoes buzz.

Grade’s massive sculpture (15’ x 38’ x 42’)  is kinetic — the upper portions of it collapse down and move back up to replicate the lifespan of a pingo, a hill of ice that grows over centuries in the Arctic’s highest latitudes, then collapses. The steel framework is covered over with sheets of carved Alaskan yellow cedar, large pieces along the bottom and sides that gradually grow smaller as they reach the peak. Grade drew the inspiration for the piece when he traveled to the Alaskan Arctic three years ago as part of Anchorage Museum’s Polar Lab residency for artists, and discovered pingos on the tundra.

For Donovan, this is the latest step in his evolution as a sculptor, photographer and filmmaker. A graduate of Cornish College of the Arts in Seattle, where he makes his home with his wife Cyrena and their two young children, Donovan has been working to combine his mediums for many years.

“This is a form of sculpture,” he says of his work in Mixed Reality. “It’s just not a physical sculpture. It’s a sculpture made of light and sound. From the beginning, I have been interested in going outside the traditional structures to create. I’m more interested in the overlap of these mediums, where one informs the other.”

Donovan became interested in virtual reality about eight or nine years ago,  when he was creating motion graphics (computer animations). He taught himself to write code, and then began creating interactive experiences. He was fascinated by the ways that the technology allowed him to be able to “create things that are very uncommon, that are not of this terrestrial world. For me, I was very hungry to create unique things to see; things that are very out there.”

When the first Virtual Reality headsets arrived on the scene about five years ago, Donovan said it was a “natural evolution” for him as an artist. When he and Grade began working together on “Murmur,” it was to have been a virtual reality experience, but then Microsoft released the HoloLens. “We decided that was the right direction to go,” Donovan says. “HoloLens is mixed reality, when the virtual content co-exists in the physical world. It was the right fit.”

Just as a canvas is the path for a painter’s self-expressions, Donovan sees the HoloLens the same way. “It is a tool for self-expression,” he notes. “It is a medium. It’s a canvas. The holographic content is the aesthetic thread, the interplay, between (Grade’s) physical form and my objects.”

Donovan thinks this is the first time that a physical sculpture has been so tightly wedded to mixed reality, and he looks forward to the relationship between the piece and the technology evolving as the technology is refined. Just as an iPhone user needs to update software to have the best experience, so too will the HoloLens change as time goes on.

“We will continue to push this,” Donovan says, noting that there could (and likely will) be a time when the HoloLens headset and sculpture share information with each other to change the visitor experience; that the piece will have “network-based sharing” so that users can integrate with each other in the exhibition; and finally that there would be a telepresence, so that if the piece were in two locations, users would share the experience. “It will be a never-ending project,” Donovan says with a laugh. “As the technology evolves and updates, the project will update.”

As the group enters pre-opening crunch time, Donovan looks back on the last year. “It’s been a lot of fun,” he says. “It’s been great working with John and his team — they are a great group, so talented and collaborative. We are all pushing our skills as hard and as far as we can.  For me, this is really exciting. This is the beginning of what the future will have for us to express ourselves with.”

To commemorate International Holocaust Remembrance Day on January 27, Mystic Seaport, the Jewish Federation of Eastern Connecticut, and the Museum of Jewish Heritage – A Living Memorial to the Holocaust, will co-host a special screening of the 2016 Danish film “Across the Waters,” which tells the story of a Jewish musician and his family who make a frantic escape from Nazi-occupied Denmark. The screening (Danish with English subtitles) begins at 2 p.m., Saturday, January 27, at Mystic Luxury Cinemas in Olde Mistick Village.

The story takes place in 1943, the same year that the Danish lighthouse tender Gerda III was smuggling Jews from Denmark to safety in Sweden. Gerda III belongs to the Museum of Jewish Heritage in New York City and is on display at Mystic Seaport. In 1943, the boat was used by Henny Sinding, the 22-year old daughter of a Danish Navy Officer who commanded the country’s Lighthouse and Buoy Service, and a four-man crew, to rescue Jews. The refugees were brought to a warehouse along Copenhagen’s waterfront and smuggled aboard Gerda III, hiding in the cargo hold.

The little vessel then set out on her official lighthouse supply duties, but detoured to the coast of neutral Sweden. Although the vessel was regularly boarded and checked by German soldiers, the refugees were never discovered. Gerda III rescued approximately 300 Jews, in groups of 10 to 15. Of the 300 boats that participated in the evacuation, Gerda III is believed to be one of only three that remain afloat.

On Saturday, January 27, the event will start at 2 p.m. with an introduction and remembrance by Jerome E. Fischer, executive director of the Jewish Federation of Eastern Connecticut. That will be followed by a short presentation on Gerda III’s story by Howard Veisz, a Mystic Seaport volunteer who has exhaustively studied the boat’s history. Veisz is the author of “Henny and Her Boat,” the story of Gerda III and the rescue of 300 Jews. Tickets are $20 for Mystic Seaport members, and $22 for non-members. Tickets may be purchased in advance by calling the Museum’s Central Reservations at 860.572.5331, or at the door the day of the event at Mystic Luxury Cinemas.

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On Saturday, January 20, Mystic Seaport will host the international debut of an exhibition that heralds in a new era for the Museum — the Era of Exhibitions. Murmur: Arctic Realities is the product of one of world’s leading contemporary artists, John Grade, and with it, Mystic Seaport becomes a leader in the introduction of mixed reality technology in a museum setting. This exhibition showcases the Museum’s vision for engaging visitor experiences, a vision that will only expand throughout 2018 and beyond.

Staged in the Collins Gallery in the Thompson Exhibition Building, visitors will encounter upon entering what appears to be a natural land form — a mound (15’ x 38’ x 42’) intricately carved from Alaskan yellow cedar. This vast sculpture represents a pingo, a hill of ice that grows over centuries in the Arctic’s highest latitudes, then collapses, pockmarking the tundra. Grade’s work replicates a pingo in Alaska’s Noatak National Preserve, mapped by the artist using photogrammetry. Visitors will not only witness the pingo’s impressive scale, but will also be able to enter inside the sculpture as its walls open and close, mimicking the pingo’s life cycle at a time when this is accelerating due to unprecedented environmental change.

Grade and New Media artist Reilly Donovan are collaborating on Murmur, as Donovan brings the use of Microsoft’s HoloLens Mixed Reality technology to the experience. They have mapped fragments of Noatak’s landscape into the gallery so that visitors wearing a wireless HoloLens headset will see themselves within a holographic representation – one using visual images and spatialized sound of a precise geographic location 80 miles north of the Arctic Circle.

“The opening of Murmur is a thrilling moment for this museum,” says Nicholas Bell, senior vice president for curatorial affairs. “The inclusion of giant steel and wood kinetic arms and a holographic experience immediately removes us from our comfort zone. But that’s exactly where we should be as we enter this new Era of Exhibitions – challenging the limit of how we engage with museum space, and what we can learn from such unexpected encounters. Murmur affirms the role of Mystic Seaport as a place to come together, not only to understand our past, but also to anticipate the future.”

The title Murmur evokes both the sound of Arctic wind and the shapes made by flocks of Arctic birds in flight. The installation will provide an experience in which people can virtually explore the interior of a pingo’s ice core and the unusual textures, flora and fauna of the land form. By allowing visitors to traverse an Alaskan marsh in Connecticut, Murmur will revolutionize the public’s grasp of what a museum experience can be.

Murmur: Arctic Realities is being staged in collaboration with Anchorage Museum. Grade has been working on the pingo project for three years, after Anchorage Museum invited him to spend time in the Arctic as part of its Polar Lab residency program. According to his website, “Inspired by changing geological and biological forms and systems in the natural world, John works with his studio team to create large-scale site-specific immersive sculptural installations. Impermanence and chance are often central to the work along with kinetics and relationships between the natural world and architecture.”

Museum President Steve White notes that the opening of Murmur: Arctic Realities kicks off a busy and exciting year. “John Grade’s work speaks to our vision for exhibitions at Mystic Seaport,” White says, “to bring exhibitions to the Mystic region for which people would ordinarily have to travel far to see, and to provide content that appeals to people accustomed to compelling museum shows.”

Murmur, which closes in late April, is followed by two major exhibitions both opening on May 19: The Vikings Begin: Treasures from Uppsala University, Sweden and The Vinland Map. The international debut of The Vikings Begin will bring one of the world’s finest early Viking-age collections to Mystic Seaport. This exhibition represents the first instance most of these artifacts will have ever left Sweden. For the Vinland Map exhibition, it will be the first time in more than 50 years that the document is on public display, allowing those who have followed the saga to see its primary evidence for the first time. Mystic Seaport will engage historians, archaeologists, scientists, and other leading experts to share the Map’s story, and discuss its out-sized role in modern American history.

In addition to the exhibition itself, there are scheduled talks by both Grade and Donovan, the opportunity to take a yoga class with renowned instructor Coral Brown within the exhibition, and other programs related to the piece. Visit our online calendar for the full schedule. Use #wearethemurmur #arcticrealities on Twitter and Instagram.

The 70th annual Community Carol Sing at Mystic Seaport will be 3-4 p.m. Sunday, December 17. A new addition to this beloved seasonal tradition this year is a Holiday Hat Contest.

The Museum will be open to visitors from 10 a.m. to 4 p.m. and admission is free with the donation of a non-perishable food item or by cash donation. All contributions will be donated to and distributed by the Pawcatuck Neighborhood Center.

The Mystic Seaport Carolers will perform a holiday concert in the Greenmanville Church at 2 p.m. The carol sing will commence at 3 p.m. in the McGraw Quadrangle, led by Associate Professor of Music and Director of Choral Studies at the University of Connecticut Jamie Spillane (now in his 32nd year directing this event) and backed by the Museum Carolers and a brass quartet.

Guests at the Carol Sing are always in the holiday spirit, and often their headgear gives new meaning to “merry and bright.” This year, judges will be circulating through the crowd, and prizes will be awarded to the top hats! Winners will be announced during the concert.

Also that day, the Treworgy Planetarium’s 2 p.m., program, “The Star of Bethlehem,” explores the winter skies, merging science, mythology, religious observance, winter traditions, and music. A holiday craft workshop will be hosted in the Howell Classroom (lower level of Planetarium) from noon to 2 p.m.