Lindsay Marie Morris

With two parents from Mazara del Vallo, Sicily, Gina Montalbano's upbringing was rooted in tradition. Part of that was recognizing that her family had ties to viticulture. Her father had worked in vineyards, and she always heard about her mother's family wineries and vineyards. 

After a career in education for Gina, who holds a doctorate in educational leadership, and in the Army for her husband, Bryan Zesiger, a retired Major, the Kansas-based couple found themselves drawn to winemaking and decided to pay Gina's Sicilian family a visit in December 2018.

"We were driving down this road with Gina's cousin, and there are vineyards all on both sides," remembers Bryan. "We're in this little Fiat, and I'm like, 'Hey, when are we going to see your vineyard?' Because I was thinking he's got a little section. He goes, 'Oh no, these are all of our vineyards.'"

It was an eye-opener. "We were like, 'What we're doing in Kansas is small in comparison,'" says Gina. 

Their former home operation has evolved into Z&M Twisted Vines Winery and Vineyard, which has a Lawrence, Kansas, vineyard and tasting room and a Downtown Leavenworth, Kansas, winery. 

Gina and Bryan remain resourceful, turning mistakes into opportunities and waste into treasured products. It's part of learning and growing but also core to their identities.

"That's part of my heritage," Gina says. "And so that pulls through with Bryan's military endeavors. He's lived around the world where people don't have what we have. We're always thinking of how to repurpose and reuse things and make the best of a bad situation. That's how we ended up just trying to build variety within what we do."

 

Gina shared more about the journey, influences, challenges, and Z&M's sustainable practices. 

 

 
Z&M opened its vineyard to the public in 2020 and hosts regular events.

How did you get started?

Bryan had served 26 years in the Army, and I was an elementary principal. We were both at a point in our careers where we could do something different if we wanted and retire from what we were doing. So, we decided to get started on the endeavor and make wine, not just as a hobby.

 

People were very encouraging, saying, "Hey, you guys should do this. Your wine is really good. I think more people would like it."

That's when we bought the building in Downtown Leavenworth, which is a three-story building, but the cellar is where we were producing. And then it has a back garage, so it was kind of like seriously old-school wine-making. We were crushing grapes in the back garage, carrying them down in big totes into the cellar, and making wine in that location—literally handcrafting. 

We had about 300 six-gallon glass carboys; you get about 28 bottles out of a carboy. But as we continued, we were like, "There is no way we can keep up this way with just the two of us, but also in such small quantities." We needed to be able to do larger batches. So we were like, "OK, we need some land. We're going to be farmers. Let's grow our own grapes."

We bought the property with the Lawrence address in 2019 and planted our vines. They're on year six, so we get our own harvest and work with other vineyards that don't have wineries attached to them. Now that we're big enough and making enough product, we contract with other growers and use our grapes plus theirs, and then we also do lots of other fruit wines. 

We've added our own personality and twist to everything. We hope people enjoy hearing our story through the labels of the wine and the flavors we're putting together. At this point, we craft about 50 different wines: reds and whites, traditional drys, and a little semi-sweet. Those are all Kansas-grown grapes. Everything is made here, from this area, and on our property. 

At the vineyard, the building that we are currently in is a big Quonset. Our harvest center has a wine-making side; we can invite guests for tastings. And so it's a labor of love, but at the same time, it's our opportunity for growth. We are adding an automated bottling line. That will change the trajectory of the amount of time it takes us to hand-bottle everything and help us be more efficient with our time and opportunity for distribution.

 

Gina with her family in Sicily

 

How has your Sicilian heritage inspired you?

The very first wine that we made came from my grandfather's recipe and wine-making techniques, and it's called Harvest Moon. The label is a throwback to a vineyard with a big harvest moon. It's one of my family's white wine recipes. We leave the skins on the grapes, which is kind of an old-school Sicilian tradition because the flavor comes from those. Here in the States, whites are typically just pressed and crystal clear. 

It's just been a lot of fun because we've done some very traditional things as we started our farm winery and utilized some of my grandfather's recipes.

 

Z&M crafts about 50 different wines with Kansans-grown grapes.
 

What challenges have you faced along the way?

Bryan and I didn't grow up as farmers, and we're not from Kansas. I know elementary lingo/education talk, and Bryan knows the military, so we're learning a new language. 

When we both retired, we lost our communities. It's like, who are our people? Who's the go-to person we ask questions? And we're both very driven to learn as much as we can. We joined as many things as possible to get involved in and learn more. We watched a lot of YouTube videos, and we talked to other people.

 

There was the hurdle of becoming farmers or owning a vineyard in Kansas, a state that hasn't been super well-known for grape-growing and wine-making since prohibition, and alcohol laws in the state have been slow to change. 

 

Hurdle two was the upscaling of recipes, going from six gallons at a time to 250-gallon tanks and then 500-gallon tanks. There was a point where wine got messed up, and Bryan came back to me, saying, "We have about 500 gallons of wine that I don't think is going to be OK." And I'm like, "What do you mean? That's a lot of money. That's a lot of time. We've got to fix it."

 

And so I said, "Don't dump it out. We're not going to make vinegar. Let's come up with a new plan."

 

American brandy is cognac, and cognac is made from white grapes. And so it's essentially distilled wine that is aged. Bryan learns all this through studies, and he and I are looking stuff up. Before we knew it, we were like, "OK, we can take this wine and distill it and then age it and make it brandy." 

In our research, we learned we could add brandy back to our wine and make what's called fortified wine, which becomes an American version of port wines.

 

It allowed us to transition and make a product, so there's a whole line of wine through this adversity that we now call Double Tap. They are all at 20% ABV and made with our own in-house brandy. It turned out to be a good accident in disguise. 

 

Bella Vino soaps and Twisted Lips 

Speaking of resourcefulness, tell us about your Bella Vino line.

It started with the home wines we were making. I love coffee, just like every Sicilian. So, the concept of "Let's make a coffee wine" came into play. 

We made our first coffee wine using real coffee beans and ground coffee. One day, we were bottling the coffee wine. We had filtered off and racked off, and a lot of residue was left from the coffee grounds. My stepdaughter Aspen was YouTubing videos while we were working in our basement. 

I had promised her that when we finished, we would do something that she wanted to do. Well, she wanted to make a body scrub. She was looking up recipes for making homemade body scrubs, and we were listening to her videos while we were bottling. And Bryan was like, "Hold on: exfoliant. These coffee grounds are rich, rustic, and scratchy. Maybe we could use those and make our own recipe based on one of these videos you're looking at."

 

So, it became the family project that night to make this scrub, and that was the birth of Bella Vino. It didn't come to fruition as an actual LLC or company until 2019. We had opened the doors, and we were making wines. And we were like, "We should not forget what we were doing with the leftovers." And so we started the Bella Vino line. There are little chapsticks, sugar scrubs for your lips, and body scrubs. Then we said, "Well, if we make this, we can surely make other products." 

We found a local farmer's wife making soap, and I asked, "Do you think you could make soap with the other leftovers I have?" And so we went through that process and figured out how we had to dehydrate things or whatever, but then we could use those fresh leaves from the tanks. And so we started making soaps, body scrubs, and what we call Twisted Lips. (I got to design a little container that looks like a wine glass. And so when you twist off the top of the little wine glass, it's your chapstick inside.)

 

When we bottle, we end up at the tail end with four or five bottles of what was still left in the lines and the tanks. We didn't want to put it in a box and tape it closed with only four bottles, so we had all of these boxes with random wines in them.

 

We said, "We should make these into jelly," and then we started making our wine jelly. So, every single bottle of wine left over from when we finish up those extra bottles becomes jelly. 

Being kind of frugal is a Sicilian thing; it's just how I grew up. My dad worked, and his English was not great. He became an American citizen, worked at the same factory I can remember as a kid, and built his family of five kids. We all went to college. It's about hard work and taking pride in who you are; that's who I am because of my parents. 

I was kid number four, so there were lots of hand-me-downs from my sisters. You don't always get new things; you're always thinking of how you can repurpose and not waste stuff. 

 

Z&M Twisted serves appetizers, paninis, hot dogs, and brats with wines, ciders, mocktails, and more.

 

What experience do you hope to share?

Wine doesn't have to be pretentious; like any good Sicilian cooking, your family meal draws people together.

 

Wine is our way to draw people together. And so we serve food at the vineyard, too. The idea is to reach people of all different ethnicities and age groups. We want them to come for the wine, but it's the experience they leave with; the idea that it brings people together is part of what we do. 

Grapevine roots are like trees. The deeper the roots go, the better your vines do. So, we want to build deep roots in a community we're not from. To do that, we must invest time in our community, not just trying to sell wine. That's never been the goal. 

 

 
Z&M Twisted's Lawrence, Kansas, vineyard

 

 

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Whether she's upcycling discarded materials or working with clay and sand from Mount Etna, Stefania Boemi's works serve as a heartfelt tribute to Sicily's rich history. The sustainably minded artist hand-sculpts her own version of the iconic teste di moro, crafts chandeliers with remnants of holy cards, reupholsters furniture with antique fabrics, reimagines Sicilian puppets using doll heads and lithographed tin boxes, and sews hammocks from traditional bedspreads. Her artistry extends to her ambitious restoration of a more than 1,000-year-old Arabic paper mill into a sanctuary for art and cultural events.

 

I recently had the opportunity to connect with Stefania, who shared her background, drive, process, and more.

 

You are originally from Bronte. How did that factor into your artistic journey?

I believe that growing up in a place where boredom is abundant gives creative minds the opportunity to explore various ways to fill time. Creating something from nothing or very little is one of these possibilities. I think that if I had grown up in a city and had been one of many children with days filled with pre-arranged activities by parents, like swimming, dance, or English lessons (just to name a few examples), I probably would have become something entirely different.

 

Your training is in physiotherapy; what influence has this had on your art?

I worked full-time for almost 20 years in neurorehabilitation, a branch of physiotherapy that exposed me to devastating, often dire illnesses and connected me with people with whom I formed deep bonds. The contact with their suffering and the opportunity to help them navigate their difficult days taught me a great deal and inevitably shaped my worldview. But at a certain point, I felt the need to give space to parts of myself that hadn't had the time to be "cultivated." That's where the choice to split my life between physiotherapy (which I still practice) and art came from. I would say that the creative part of me influenced my approach to physiotherapy, not the other way around!

 

Stefania Boemi
 

What drives your passion for sustainability in art, and how do you select materials?

Nowadays, there's a lot of talk about ecology, eco-art, "green" practices, and sustainability. These topics have become "trendy!" But for me, it's simply about love and admiration for the beauty of nature. These sentiments, if we can call them that, were inherited from my mother. I grew up in the countryside, and after a long pause living in the city four years ago, I chose to return to live amidst nature. It feels natural for me to be "sustainable" in everything I do. The materials I choose are either "repurposed" (like the bedspreads I use for hammocks, the crystals for my chandeliers, or the lithographs for my cushions) or sourced locally (like clay or sand from Mount Etna). The connection to the island is strong, omnipresent, and indispensable in both cases.

Stefania frequently repurposes vintage materials.

Tell us about your creative process.

Describing the creative process behind my pieces is quite difficult for me. In most cases, it's an instinctive spark. Once that spark ignites, the step to realization is immediate and materializes through a sequence of trials and errors—until exhaustion! I study the results and explore possible solutions. My hands are the instruments of my imagination, and controlling the material becomes both a pleasure and a surprise. When I recognize poetry in the achieved form, the creative process is complete for me.

 

Teste di moro reimagined by Stefania Boemi

How do you incorporate Sicily's culture and history into your work?

I think I achieve this through the choice of materials. Clay is Sicilian soil, and the teste di moro, with their legend, tell a piece of the island's history. The association and identification happen naturally, and in this case, obviously. Other pieces have more secret ties, perhaps less evident. They involve the reuse of materials/objects with a past story linked to local customs and habits. Our roots are important. They need to be preserved. They tell us who we are and our identity. They allow us to differentiate ourselves and maintain a world with millions of diverse peoples, each with their traditions, colors, customs, and habits. And that's simply wonderful. Imagine how boring the world would be if we were all the same!

Red teste di moro by Stefania Boemi

 

Are there any upcoming projects you are particularly excited about?

Yes, there are new projects on the horizon that also involve my current artistic production in some way. But the project is much broader. Four years ago, I fled the city and purchased an estate on the banks of the Simeto River. It includes the Arabic Paper Mill of Ricchisgia, a building dating back to the year 1,000. It was constructed by the Arabs during their domination of Sicily, with 26,000 square meters of land cultivated with pistachios and olives. The Paper Mill, after the Arabs left, was transformed into a convent and inhabited by the Benedictine and Basilian orders for about three centuries. The entire property was later donated to Count Nelson, who became the Duke of Bronte. It remained in his family's possession until the 1970s. I was overwhelmed by the beauty of this little-known, secret place, which is part of an important minor historical heritage. It became my place in the world and my world. Here, I live and work surrounded by unspoiled nature, with rhythms and habits vastly different from those I previously had. I am personally involved in restoring and rehabilitating this extraordinary space. It's a complex project, challenging on many levels, especially financial. But it has become a life project. I'll host art and events. There's still much to do, but so much has already been accomplished. When I finish (if I ever do), I'll be able to say it was the most beautiful work I've ever done.

 

Medusa by Stefania Boemi

What advice would you give young artists?

I came across this writing by Rainer Maria Rilke, which encapsulates everything I could advise:

My daughter, if you feel a fire within,
a light burning deep inside,
don't smother it with the doubts of the world,
don't extinguish the fire with fear.
The path of the artist is long and uncertain,
but full of hidden treasures;
every brushstroke, every note, every word
is a step toward your truth.
Don't seek the approval of others,
don't expect applause at every step.
Art lives within you,
a silent song that only you can hear.
Create out of love, my daughter,
not for success or fame,
because true art is born from the heart,
not from the hands of those who judge.
You are young, and the world is vast,
full of dreams to paint,
of sounds to capture,
of stories to tell.
Be brave, and never stop searching,
because the artist never finds the journey's end,
but only new roads to explore,
new skies to paint with the stars.

Perseo and Andromeda by Stefania Boemi

What do you hope to share through your art?

In my view, art has the duty to evoke emotions. I hope to succeed in offering this—a small emotion.

 

 

Upcycled and reupholstered by Stefania Boemi

 

 

 

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