Images Arizona (May 2024)

MOLTEN MASTERPIECES

SUE KRZYSTON SOUTHWEST REALISM ARTIST

AMY LAY CONTEMPORARY WILDLIFE ARTIST

BRYCE PETTIT WILDLIFE BRONZE SCULPTOR

TREVOR SWANSON LANDSCAPE AND WILDLIFE ARTIST

MARI GIDDINGS & JOE AXTON MIXED MEDIA

JANE WORD LEATHER PILLOWS

THIRD THURSDAY, MAY 16 FROM 4 TO 7 PM

Cherished Memories by Sue Krzyston, oil on canvas, 30” x 24”

What's Inside?

MOLTEN MASTERPIECES

GARTNER BLADE GLASS BLOWING

EXPERIENCE THE PINNACLE OF LUXURY, technology, privacy and security in this one-of-a-kind Scottsdale mansion, ready for move-in summer of 2024. Designed and built by Modern Masterpieces, this mansion features:

• ELECTRONIC SMART GLASS WALLS. INDOOR/OUTDOOR LIVING

• GAGGENAU VARIO 400 PROFESSIONAL CHEF KITCHEN

• MASSIVE POOL, SUBMERGED FIRE PIT, SWIM-UP RESTAURANT. SPA AND TANNING SHELF

• CAR SHOWROOM AND WORKSHOP

• GLASS BASKETBALL / SPORTS COURT

• DOLBY ATMOS MOVIE THEATER

• SMART GLASS DINING ROOM

• 3 KITCHENS, 3 LAUNDRY ROOMS

• 2,760 SQ 2 BD / 2 BATH GUEST HOUSE W/THERMADOR KITCHEN

• DOUBLE RV GARAGE

• MILITARY GRADE PANIC AND SECURITY ROOM

This home is sure to meet the needs of even the most discerning buyer!

From the Publisher

Shelly Spence

Managing Editor

Joseph J. Airdo

Graphic Designer

Meaghan Mitchell

Contributing Writers

Joseph J. Airdo

Francine Coles

Shannon Severson

Photographers

Francine Coles

Loralei Lazurek

Cindi Calcinari

IInnovation has become the beating heart of our community, leading us to envision a brighter future with each new advancement. In this issue of Images Arizona, we dive headfirst into the ever-evolving landscape of science and technology, showcasing the pioneers, artists and innovators who continue to shape our understanding of the world around us.

This month’s featured artists, Stephen Gartner and Danielle Blade, have mastered the intricate art of glassblowing, showcasing their unique interpretation of natural elements found in bone, wood, vines, fossils and rock formations. Their collaboration, Gartner Blade, shines as a beacon of innovation and creativity and their work stands as a testament to the power of combining scientific precision with creative expression, producing stunning collections that continue to captivate and inspire.

This issue also includes peeks behind the scenes at Waymo, which continues to revolutionize what’s possible in the world of autonomous driving technology and the Phoenix studio of multimedia artist Casey Farina, who blurs the boundaries between art and technology.

We hope these pages inspire you to embrace the boundless potential of science and technology, seek solace in the beauty of art and nature, and celebrate the remarkable individuals who work tirelessly to shape a brighter future for us all. Together, let us continue to create, innovate and make Arizona the shining example of progress and possibility.

Cheers!

Shelly Spence Publisher, Images Arizona magazine shelly@imagesaz.com

623-341-8221

Photography by Loralei Lazurek

Left: Cathy Hegman, Figure with Blue Bird, Acrylic on Canvas, 40” by 40”

Above: Martin Blundell. October Above Durango, Oil on Canvas, 48” by 48”

IIn the heart of the Berkshires, where nature’s grandeur serves as a constant muse, Stephen Gartner and Danielle Blade have forged a symbiotic creative partnership that transcends the boundaries of traditional glassblowing. Their studio, Gartner Blade, is a crucible where art and science converge, yielding exquisite glass sculptures that captivate the senses and ignite the imagination.

For Blade, a deep reverence for the natural world has been ingrained from an early age. Hailing from the Isle of Wight, she was born into a family steeped in the arts, with her father, Martin Evans, a renowned British glass artist.

“Growing up, the glass studio was a big part of my life,” she reminisces. “My father and brother are both glassblowers, so I spent a lot of time around glassblowing as a kid. I really wanted to be a part of it.”

Writer Joseph J. Airdo // Photography Courtesy of Gartner Blade

Glassblowing teaches you humility. It’s a demanding medium that constantly reminds you of the need to remain humble. Every time you think you’ve mastered a level of proficiency, there’s always another rung to climb.

Danielle Blade

The foundational techniques she has refined over the years were undoubtedly passed down from her father.

“I have always been proud of my father and his beautiful work,” Blade says. “That grounding in the basics of technique was incredibly valuable. To some extent, his design sense also helped me see things in a different way. His iterative approach to the creative process really stuck with me, and I wanted to incorporate that into my own work and become proficient at it.”

It was this early immersion that kindled Blade’s passion for the craft.

“Glassblowing took time to develop, but I enjoyed the process as a young child and found that I had a knack for it,” she explains. “Being an optimistic child, I took great pride in the challenge of becoming proficient in the art. It was something that developed over time, and I became very passionate about the results that can be achieved.”

Blade’s journey ultimately converged with that of Stephen Gartner, a talented musician from Phoenix. Their union birthed a creative synergy that has yielded a distinct and captivating aesthetic, one that seamlessly blends the practical with the sublime.

“When I first met Stephen, he was a torch worker, which is quite different from blown glass in terms of process, techniques and aesthetics,” shares Blade, noting that

Gartner worked as a production glass blower, as a glass instructor and as a glass studio gaffer — the top job in the world of glassblowing.

“By combining blown glass and torch work, we were able to create unique and beautiful pieces. The creative process is highly immersive. Stephen and I collaborate closely on new designs, and our differing approaches contribute to the richness of our work.”

Blade cites the example of a circle.

“We tend to approach it from opposite directions, which allows us to see the end result from diverse angles,” she explains. “When developing new designs or series, Stephen focuses on different aspects than I do.”

Their differing backgrounds and perspectives have proven to be a wellspring of innovation.

“Stephen’s engineering background gives him a more practical perspective, while my focus tends to be more on the visual aspects,” Blade says. “In our recent exploration of table lighting ideas, Stephen has been more concerned with structural elements, while my attention has been on the visual aspects.”

NATURE’S NEXUS

At the heart of Gartner Blade’s creations lies a deep reverence for the natural world, a wellspring of inspiration that permeates every aspect of their work.

“Our inspiration began with our shared fascination for found objects, which are often used for contemplation in both primitive and contemporary cultures,” Blade reveals. “Additionally, the desert Southwest has been a significant influence, especially with my love for travel and exploration of different environments.

“Natural rock formations and other aspects of the natural world inspire me and feature prominently in my work. I’m drawn to their beauty and desire to incorporate them into my home.”

This reverence for nature manifests in Gartner Blade’s collections, each a testament to the boundless creativity that arises from observing the world around us. The Strata series, for instance, draws inspiration from the intricate layers of geological formations, while the Coastal collection captures the serene hues of the ocean’s depths.

Explore the creative genius and scientific precision behind the breathtaking glass art of Stephen Gartner and Danielle Blade, the renowned duo of Gartner Blade.

Gartner Blade’s sales manager, Debbie Suchy, says that the duo’s collections are a testament to their passion for nature, with their Strata, Batik, Translucent Strata, Coastal and Agate series each drawing from different elements of the earth.

“Their dedication to incorporating Earth’s elements and natural beauty into their work is evident in each of their collections,” Suchy explains. “This approach creates a harmony akin to feng shui, where the elements of fire, water, earth and wind are all represented.”

The natural world not only serves as Blade’s muse but is an integral part of her daily existence.

“I am incredibly passionate about my surroundings,” she says. “I live in the Berkshires, a stunning location filled with beautiful gardens, woods, large mossy boulders and a captivating environment. It’s a place I deeply treasure.

“Every time I venture outside, I discover fascinating things. Nature often imitates art, or perhaps it’s the other way around. It’s a bit like the chicken-and-egg conundrum. The intricate details found in nature, even in seemingly simple things like an acorn or an anise, are truly remarkable. I find them utterly fascinating.”

These moments of connection with the natural world leave an indelible mark on her.

“When I walk and immerse myself in the outdoors, I am overwhelmed with gratitude,” Blade says. “I feel incredibly thankful to be in such a beautiful place.”

FROM SAND TO SCULPTURE

Beneath the breathtaking beauty of Gartner Blade’s creations lies a meticulous scientific process, a delicate

dance between the manipulation of raw materials and the harnessing of elemental forces.

“Glass is made from natural and abundant raw materials, such as quartz sand, soda ash and limestone,” Blade explains. “These materials are melted at high temperatures to form a new material: glass. Other natural elements and inorganic compounds are added to achieve the specific type of glass desired, typically to lower the melting point, increase viscosity, improve heat retention and improve clarity depending on the exact process to be used and the desired end result.”

The base glass used by Gartner Blade is the Kugler Clear Cullet, manufactured in Germany specifically for glassblowing and art glass processes.

“We melt the cullet at around 2,300 degrees and add color in the form of powdered glass and frit,” Blade elaborates, noting that the precise control over temperature and the introduction of specific compounds allows the artists to achieve the desired hues and textures that breathe life into their creations.

“At a high level, glass is simply melted silica sand which is chemically transformed. To make sand melt, you need to heat it to roughly 3,090 degrees, which is approximately the same temperature a space shuttle reaches as it reenters Earth’s atmosphere.

Yet, the true artistry lies in the duo’s ability to push the boundaries of traditional techniques.

“Stephen has successfully adapted many of the torch work techniques for use with hot glass, resulting in a unique sculpting process that is exclusive to our studio,” Blade reveals. “This has opened up a world of possibilities that are not commonly available to traditional offhand glassblowers.

“My training in Italian glassblowing techniques has also heavily influenced our approach. By blending sculpture and glassblowing, we push the boundaries of glass art, creating unique pieces that reflect our distinct aesthetic and vision.”

THE ART OF ALCHEMY

For Blade, the ultimate goal is to create works that invite exploration and contemplation, pieces that reveal new depths with every viewing angle.

“I aspire for viewers to be drawn into our pieces and encouraged to explore them further,” she muses. “Ideally, they’ll be curious to view the pieces from different angles, such as around the side, underneath, or over the top. I want people to discover new points of interest and find more than they anticipated, making the piece less predictable. It would be great if they notice connections between our current works and those we created in the past.”

This desire to evoke a sense of wonder and discovery is deeply rooted in Blade’s own connection to the natural world.

“Art can evoke a wide range of emotions, both positive and negative,” she reflects. “While some works may elicit unfavorable reactions, we humans crave stimulating experiences that stir our emotions. It can be as simple as noticing the shadows cast by a pigeon on the wall and being drawn to observe them more closely.”

Through their sculptures and home decor elements, Gartner Blade invites us to adorn our environments with pieces that reflect our identities, creating a sense of home and grounding us in our surroundings.

“Throughout history, humans have adorned their bodies with meaningful objects, often as jewelry,” Blade says. “In a similar vein, I believe sculptural

art can be used to adorn one’s environment in a deeply personal way. I personally find great joy in observing the various sculptures in my home and feel a strong connection to them.

“Ultimately, I believe art is a means of self-expression, allowing us to surround ourselves with objects that reflect our identities. It creates a sense of home, a space where we feel grounded and connected to our environment.”

Suchy adds that over the past 27 years that Gartner and Blade have been partners, their customer demographic has evolved to include not only art and glass collectors but also those seeking to create a special environment in their homes.

“Their distinctive glass designs, particularly the central banded style, set them apart from other glassmakers in the American-made glass movement,” Suchy says. “While their glass pieces are functional, they also serve as unique and special additions to home decor. Their exquisite lamps, chandeliers and pendants offer a distinct appeal, with each piece showcasing Danielle and Stephen’s commitment to craftsmanship and artistic vision.”

GLEAMING GLASSWORKS

While their creations may appear effortless, the path to mastery is one paved with constant challenges and never-ending growth. For Blade, it is this very journey that has instilled in her a deep sense of humility and patience.

“Glassblowing is a demanding medium that constantly reminds you of the need to remain humble,” she explains. “Every time you think you’ve mastered a level of proficiency, there’s always another rung to climb. It’s a never-ending journey of learning and growth. The studio environment also requires a methodical approach. You

have to wait until the next day to see the finished piece, and it may surprise you, either positively or negatively.

“This process reinforces the idea that one can never be arrogant, as the art constantly keeps you grounded. It’s crucial to be aware that you will likely never stop learning — and that’s something I hope never changes for me.”

As Gartner Blade’s exquisite creations adorn the spaces of Grace Renee Gallery in Carefree, they serve as a testament to the boundless potential that arises when art and science converge. From sculptural pieces that command attention in the center of a room to functional objects like lamps and bowls that bring an artistic flair to everyday living, each molten masterpiece is a fusion of raw materials and raw creativity, inviting us to explore the depths of our own emotions and connections to the natural world.

A premier destination for appreciators of fine art, Grace Renee Gallery’s curated collection of Gartner Blade’s work offers visitors a chance to experience the depth and breadth of the duo’s creative vision. From the mesmerizing patterns of the Strata and Agate series to the organic shapes of the Primitive collection, each piece beckons to be explored from multiple angles, revealing new layers of beauty with every turn.

For those seeking to adorn their environments with objects that transcend mere decoration, Gartner Blade offers a portal to a realm where beauty and wonder are forged in the fires of passion and precision.

Grace Renee Gallery

7212 E. Ho Hum Rd. #7 Carefree, AZ gracereneegallery.com

SARAH GRAHAM JEWELRY

With a constant stream of new designs flowing from her studio every year, Sarah Graham’s statement-making jewelry is exciting and elegant. By incorporating innovative materials with her exceptional design sense, she creates jewelry that is unlike anything else; organic, textural, with a muted palate that is subtly feminine, yet substantial; unique, yet universal in its appeal. 7212 E. Ho Hum

# 7 | Carefree, AZ

Hours Tue.–Sat. 10 a.m.–5 p.m. and by appointment Sun. and Mon. 480.575.8080

COMMUNITY

May 2024

Writer Joseph J. Airdo

Through July 1

‘FLIRTING WITH THE DESERT’

Immerse yourself in the vibrant world of artist Koryn Woodward Wasson at Scottsdale Public Art’s newest exhibition, “Flirting with the Desert.” Showcasing Woodward Wasson’s love for the Arizona desert, the exhibition features 12 watercolor paintings, 3D felt sculptures, large-scale murals and a video of the artist at work. This captivating display highlights the beauty of the desert through the artist's unique perspective and artistic expression. Free. See website for hours. Civic Center Public Gallery at Scottsdale Civic Center Library, 3948 N. Drinkwater Blvd., Scottsdale. scottsdalepublicart.org

Through May 5

‘MEAN GIRLS, JR.’

Experience the junior adaptation of Tina Fey's hit musical, “Mean Girls,” presented by Scottsdale Desert Stages Theatre. Watch as talented young performers bring this story of friendship, identity and belonging to life on stage. See website for price and times. Scottsdale Desert Stages Theatre at Fashion Square, 7014 E. Camelback Road, Suite 0586, Scottsdale. 480-483-1664; desertstages.org

Through May 5

‘THE SUBJECT WAS ROSES’

Experience the Pulitzer Prize-winning play “The Subject Was Roses,” presented by The Theatre Artists Studio. This poignant family drama explores the lives of three individuals who uncover the bonds that both connect and divide them. See website for price and times. The Theatre Artists Studio, 12406 N. Paradise Village Parkway East, Scottsdale. thestudiophx.org

May 1–4

‘THE SCHOOL FOR LIES’

Immerse yourself in a comedic tale of love and deception as Southwest Shakespeare presents “The School for Lies.” This witty adaptation of Molière’s classic play by David Ives combines 17th-century charm with modern humor. $45+; student, educator and senior discounts available. See website for times. Taliesin West’s Music Pavilion, 12621 N. Frank Lloyd Wright Blvd., Scottsdale. 480-837-6777; southwestshakespeare.org

May 2–5

‘ALL BALANCHINE’

Witness the remarkable artistry of Ballet Arizona as it performs three ballets choreographed by the renowned George Balanchine, the “Father of American Ballet.” The production features “La Valse,” “Divertimento No. 15” and “Symphony in Three Movements,” accompanied by live music from The Phoenix Symphony. See website for times and prices. Symphony Hall, 75 N. Second St., Phoenix. balletaz.org

May 4

CAROLYN EYNON SINGERS AUDITIONS

Carolyn Eynon Singers, an auditioned community choir, is seeking talented sopranos, altos, tenors and basses to join its ensemble. 5–6 p.m. North Scottsdale United Methodist Church, 11735 N. Scottsdale Road, Scottsdale. cesingers.org

May 4

WORLD OF WONDER GALA

Childsplay will present its World of Wonder Gala, featuring music, live and silent auctions, dinner, and entertainment.

Proceeds from the “Making Magic” themed fundraising event will support the theater company’s efforts to inspire and educate Valley youth through performances and arts education programs. $375+. See website for time. Clayton House, 3719 N. 75th St., Scottsdale. childsplayaz.org

May 4 and 5

‘OCEANS: THE SOUNDS OF THE SEAS’

Dive into the depths of music with Arizona Masterworks Chorale as it presents “Oceans: The Sounds of the Seas,” a captivating concert inspired by the mystery, power, turbulence and tranquility of the world’s oceans. Immerse yourself in the waves of melodies, harmonies and rhythms that bring the oceans’ vastness and diversity to life. See website for prices. Saturday 7:30 p.m. at All Saints' Episcopal Church, 6300 N. Central Ave., Phoenix; Sunday 3 p.m. at Ascension Lutheran Church, 7100 N. Mockingbird Lane, Paradise Valley. arizonamasterworks.com

May 4 and June 8

COSANTI TILE-MAKING

Cosanti Originals will offer hands-on experiences, guiding guests through the tile-making and design process used by its artisans. Each session begins with a Cosanti tour, followed by hands-on activities: forming clay slabs, sizing, measuring and cutting tile pieces. Instructors will then demonstrate imprinting techniques. The day concludes with a photo session. Participants’ tiles will be fired, lightly glazed and shipped. $125. 10 a.m.–1 p.m. Cosanti Originals, 6433 E. Doubletree Ranch Road, Paradise Valley. 480-948-6145; cosanti.com

May 5

‘ORPHEUS GOES POP’

Indulge in a symphony of popular tunes and melodies as The Orpheus Male Chorus presents “Orpheus Goes Pop.” Witness the rich harmonies and powerful vocals of this talented ensemble as it performs longtime favorites and classic hits by the Beatles, the Beach Boys, ABBA and more. Experience a one-of-a-kind musical journey where the worlds of classical and pop music collide. $25+; youth, student, and senior discounts available. 3 p.m. at Camelback Bible Church, 3900 E. Stanford Drive, Paradise Valley. orpheus.org

May 10–12

NEW WORKS FESTIVAL

Experience the future of opera at Arizona Opera’s inaugural New Works Festival, a vibrant and immersive event showcasing selections from new and innovative operas. This three-day festival offers an exclusive preview of poignant works that may be featured in future Arizona Opera seasons. Be the first to witness these captivating pieces in Arizona, celebrating the evolving landscape of opera. $30+. See website for schedule. Arizona Opera Center, 1636 N. Central Ave., Phoenix. 602-266-7464; azopera.org

COMMUNITY

May 2024

Writer Joseph J. Airdo

May 5

‘BEETHOVEN'S FINEST MASTERPIECES’

Experience the brilliance of Beethoven’s compositions with Scottsdale Philharmonic as it performs some of the master composer’s most celebrated works. $20+. 4 p.m. at La Casa de Cristo Lutheran Church, 6300 E. Bell Road, Scottsdale. scottsdalephilharmonic.com

May 11

PARADISE REPUBLICAN WOMEN’S CLUB

Join the Paradise Republican Women’s Club for its engaging monthly meeting, offering attendees a chance to network with like-minded individuals, enjoy a delectable breakfast and gain insights from a special guest speaker. With a focus on promoting Republican values and fostering political engagement, this event aims to empower and educate members while encouraging meaningful connections within the community. Free. 8:30 a.m. Maggiano's Little Italy, 16405 N. Scottsdale Road, Scottsdale. prwcaz.org

May 11

‘SONGS OF STAGE AND SCREEN’

Join the Carolyn Eynon Singers for an enchanting afternoon of “Songs of Stage and Screen,” featuring a delightful mix of music from Bernstein, Gershwin, Sondheim and Billy Joel, along with hit selections from “Fiddler on the Roof.” Enjoy this melodious celebration of classic stage and screen tunes, as well as the opportunity to explore the Arizona Jewish Historical Society’s fascinating exhibits. $30+; youth and student discounts available. 3 p.m. Arizona Jewish Historical Society, 122 E. Culver St., Phoenix. 602-241-7870; azjhs.org

May 11 and 12

CELEBRATE THE MUSIC OF ALICE COOPER

The Musical Instrument Museum will host an event that invites attendees to commemorate the musical legacy of Alice Cooper. $20; youth discounts available. 9 a.m.–5 p.m. Musical Instrument Museum, 4725 E. Mayo Blvd., Phoenix. 480-478-6000; mim.org

May 12

‘AROUND THE WORLD IN 80 MINUTES’

Embark on a thrilling musical journey with the Scottsdale Symphonic Orchestra as it presents “Around the World in 80 Minutes,” an exhilarating concert featuring works by Bizet, Copland, Sibelius, Rachmaninoff and Respighi. Experience the magic of live orchestral music as the talented ensemble takes you on a whirlwind tour of iconic pieces from across the globe. $15+. 4 p.m. Scottsdale Center for the Performing Arts, 7380 E. Second St., Scottsdale. 480-951-2588; scottsdalesymphonicorchestra.org

May 12

‘HORIZONS’

Embark on a mesmerizing musical journey with Phoenix Chorale’s “Horizons,” featuring a diverse tapestry of choral compositions inspired by cultures, landscapes and folk melodies from around the world. $42+; youth, senior and military discounts available. 3 p.m. Camelback Bible Church, 3900 E. Stanford Drive, Paradise Valley. phoenixchorale.org

May 15–June 1

‘THE FOUR SEASONS’

Experience the marriage of nature and art as Ballet Arizona presents ‘The Four Seasons’ at Desert Botanical Garden. Set to Vivaldi’s iconic score, this enchanting performance takes audiences on a journey through spring, summer, fall and winter against the backdrop of the stunning desert landscape and setting sun. See website for prices. Tuesdays–Saturdays 8 p.m. Desert Botanical Garden, 1201 N. Galvin Parkway, Phoenix. 602-381-1096; balletaz.org

May 16–June 21

‘THE LAST ROMANCE’

Discover the heartwarming story of love and second chances in Don Bluth Front Row Theatre’s production of “The Last Romance,” a charming romantic comedy that follows elderly widower Ralph Bellini as he finds an unexpected new love on his daily walk. This uplifting play reminds us that love can make anyone feel young again. $35+; youth, student, senior and military discounts available. Don Bluth Front Row Theatre, 8670 E. Shea Blvd., Scottsdale. 480-3140841; donbluthfrontrowtheatre.com

May 17–June 2

‘MACK & MABEL’

Immerse yourself in the glamour and heartbreak of Hollywood's silent film era with Fountain Hills Theater’s production of “Mack & Mabel.” This captivating musical tells the story of legendary director Mack Sennett and his star, Mabel Normand, featuring memorable music and lyrics by Jerry Herman. $35+; youth, student and senior discounts available. Thursdays–Saturdays 7:30 p.m. Sundays 2 p.m. Fountain Hills Theater, 11445 N. Saguaro Blvd., Fountain Hills. 480-837-9661; fhtaz.org

COMMUNITY

May 2024

Writer Joseph J. Airdo

SCOTTSDALE ARTS LAUNCHES NEW PROGRAM

Following the conclusion of the IN FLUX program, Scottsdale Arts is introducing a new initiative to continue showcasing temporary public artworks throughout the city of Scottsdale. The new program aims to foster local artistic talent and provide opportunities for emerging artists, such as Arizonabased artist Nicole Davy, whose sculpture “Desert Bloom,” located on the northeast corner of Scottsdale Road and Oak Street, is among the first pieces to be featured. scottsdalepublicart.org

May 22–July 7

‘FIDDLER ON THE ROOF’

Enjoy the beloved classic, “Fiddler on the Roof,” presented by The Phoenix Theatre Company. This heartwarming tale follows Tevye, a Jewish milkman, as he navigates tradition and change in early 20th-century Russia. See website for price and times. The Phoenix Theatre Company, 1825 N. Central Ave., Phoenix. 602-254-2151; phoenixtheatre.com

May 24–June 9

‘BEAUTY AND THE BEAST’

Experience the enchanting tale of Disney’s “Beauty and the Beast” at Scottsdale Desert Stages Theatre. This beloved story comes to life in a delightful youth production that showcases the talents of young actors from the community. The classic tale tells the story of Belle, a young woman who finds herself imprisoned by a terrifying Beast, only to discover the true nature of inner beauty. $20. See website for times. Scottsdale Desert Stages Theatre, 7014 E. Camelback Road, Suite 0586, Scottsdale. 480-4831664; desertstages.org

SCOTTSDALE PHILHARMONIC APPOINTS

NEW CONDUCTOR

Scottsdale Philharmonic has announced the appointment of Vanja Gjumar Nikolovski as its new principal resident conductor for the 2024–2025 concert season. With an impressive background in conducting and composition, Nikolovski is set to bring a wealth of experience and talent to the orchestra. scottsdalephilharmonic.com

VETERANS HERITAGE PROJECT EARNS SEAL OF CIVICS LITERACY

Veterans Heritage Project, a local nonprofit organization, has been awarded the Seal of Civics Literacy designation by the Arizona Department of Education. This distinction recognizes high school students who demonstrate outstanding proficiency in civics education. VHP’s character and civic education program, which encourages students to learn about history, citizenship, service and leadership by interviewing veterans and documenting their stories, is the first in Arizona to meet all four categories required for this accolade. The seal will be added to students' diplomas and transcripts, highlighting their civic knowledge and engagement. veteransheritage.org

AAccording to a recent National Health and Nutrition Examination Survey, nearly 50% of adults in the U.S. attempt to lose weight each year. Motivated by factors such as improving overall health, preventing diseases, improving physical fitness and self-esteem and simply doing so for the benefit of family members, losing weight is one of the greatest challenges our country faces today.

Many experts define “successful weight loss” as a 10% reduction in body weight, maintained for at least a year — which, according to the Centers for Disease Control and Prevention, can improve your blood pressure, cholesterol and blood sugar levels. By this measure, according to a study published by The American Journal of Clinical Nutrition, only about 20% of people who try to lose weight are successful at doing so.

And keeping it off beyond that first year is even more difficult. According to a research review in Medical Clinics of North America, people tend to regain more than 50% of the weight they initially lost within two years. That figure increases to 80% within five years.

Needless to say, diet and exercise — although important and beneficial — may not be effective enough to achieve weight loss for many. Fortunately, The Center for Integrative Healing & Wellness offers a medical weight loss program that specializes in helping clients who have been unsuccessful with previous weight loss methods, or who have tried over and over to lose weight yet keep regaining all the pounds they have lost.

PERSONALIZED AND DOCTOR-SUPERVISED WEIGHT LOSS

Rather than relying on fad diets, calorie counting and endless exercise, The Center for Integrative Healing & Wellness’ medical weight loss program integrates FDA-approved medications with a natural and holistic approach to address the

Writer Joseph Airdo // Photography Courtesy of The Center for Integrative Healing & Wellness

Dr.

Almeida M.D. ABIOM, ABNM, ABOM Medical Director Center for Integrative Healing & Wellness

biological and physical issues that have led each client to this point. The Center provides this medication in an easy to use once a week injection pen that allows precise individualized dosing – no other weight loss program does this!

In addition to losing weight and keeping it off, The Center for Integrative Healing & Wellness’ medical weight loss program also provides clients with the tools they need to reduce the risk of coronary artery disease, stroke and type 2 diabetes as well as feel more energized and healthier. Clients also have the option to receive multivitamins and metabolism-boosting injections that assist in reducing stored fat and building lean muscle.

Client Benefits

l Monthly GLP-1a (Semaglutide – the active ingredient in Ozempic and Wygovy) Prescription and Management

l Initial Metabolic Lab Testing and Analysis

l Inbody Body Composition Analysis

l Quarterly Metabolism, Thyroid and Hormone Testing

l Customized Weight-Loss Plan / Nutritional Consultation

l Telemedicine Support and Messaging with Expert Medical Team (office visits optional)

l Discount access to:

l Bio-Energy and Hyperthermia Therapy

l NAD+ Therapy

THE MOST COMPREHENSIVE & EFFECTIVE WEIGHT LOSS PROGRAM AVAILABLE

The Center for Integrative Healing & Wellness’ medical weight loss program is designed to help clients be the healthiest they have ever been, in the best body that they have ever had. Regardless of the amount of weight one wants to lose, the spa-like clinic’s Integrative Nutrition Team monitors and guides each patient throughout the process of reaching their goal.

The clinic’s clients typically lose 15–20% or more of their body weight — an average of 53 pounds — in 6–12 months. Best of all, the program ensures that clients keep the weight they lost off for life. That is because, unlike other programs, The Center for Integrative Healing & Wellness’ medical weight loss program looks not only at scale weight but also takes into consideration body fat, muscle mass and water weight, which all affect one’s ultimate goal.

The Center for Integrative Healing & Wellness’ expert staff even works with clients after the completion of the program to help them maintain the mindset of keeping their bodies healthy and energized. Whether you need to lose just 10 to 20 pounds or more than 50 pounds to optimize your weight, contact The Center for Integrative Healing & Wellness to get a personalized assessment, start losing weight and take the first step to change your life today!

Fabio

IIn 1941, author and illustrator John R. Neill’s book “The Scalawagons of Oz” told the fantastical story of how the Wizard of Oz invented self-driving cars for every citizen of that magical land. Phoenix may be a far cry from the Land of Oz, but the metro area is host to a grand experiment in autonomous vehicles: Waymo.

The company is based in San Francisco but chose the greater Phoenix metro area to launch its early rider program in the East Valley back in 2017 and rolled out the world’s first — and now the world’s largest — commercial autonomous ride-hailing service to the public in 2020. Other service areas include San Francisco, Los Angeles, and a test program in Austin, Texas.

Today, Waymo operates its all-electric fleet of Jaguar I-PACE vehicles across 225 square miles in the region, quadrupling its original test area. It now offers limited service at Sky Harbor Airport’s terminals 3 and 4, with expansion plans in the works. Travelers can take Waymo to and from the airport’s PHX Sky Train stations at 24th and 44th streets without restriction.

Kerry Brennan, a Phoenix-based product and customer research manager at Waymo, says Phoenix was chosen for its quickly growing, diverse population and its unique transportation needs, including college students, commuters, retirees and the population’s dependence on automobiles. The sunny weather is also a boon, though Waymo’s autonomous cars can now drive in monsoon rain.

“The Phoenix area offers everything we need to continue building safe and reliable autonomous driving technology,” Brennan says. “A large area with both broad suburban stretches and complex city streets, the Valley is also an innovation-focused region that shares our vision of improving mobility for all, so it was a natural fit for us to kick off our service here.”

Brennan points out that Waymo’s Phoenix electric vehicle fleet is powered by 100% renewable electricity and can

Writer Shannon Severson // Photography Courtesy of Waymo

The sleek, aerodynamic design of Waymo's allelectric Jaguar I-PACE vehicles seamlessly blends form and function.

The unassuming exterior of a Waymo car belies the cutting-edge autonomous technology that powers its self-driving capabilities.

We see Waymo (and our all-electric fleet) as providing an exciting option to further empower people looking for more sustainable mobility options. In the Phoenix area, you can take Waymo to popular hikes like the Phoenix Mountain Preserve or Camelback Mountain’s Echo Canyon Trail and avoid dealing with limited parking or a hot car.

Kerry Brennan

deliver four times more zero-emission miles per year, per car. The company encourages people to combine their Waymo use with other sustainable modes of transit like walking, biking and public transportation. She says the company has even heard from riders that access to Waymo has allowed them to either get rid of their personal car or downsize to become a one-car family.

“We see Waymo (and our all-electric fleet) as providing an exciting option to further empower people looking for more sustainable mobility options,” she says. “In the Phoenix area, you can take Waymo to popular hikes like the Phoenix Mountain Preserve or [Camelback Mountain’s] Echo Canyon [Trail] and avoid dealing with limited parking or a hot car.”

CATCH A (SELF-DRIVING) CAB

Riders start by downloading the app within the service area. Pickup and destination points are entered, and the user is shown the price and duration of the ride as well as how long they can expect to wait for the vehicle’s arrival. Prices are comparable to other ride-sharing services like Uber or Lyft — albeit without the need to tip a driver — and costs increase during periods of high demand.

Another difference: Waymos currently use only surface streets, not freeways, so that should be factored into expected travel time. That said, Waymo is operating fully autonomously on Phoenix freeways and intends to expand its freeway service to Phoenix riders in the future.

The Waymo arrives with the rider’s initials displayed on a small screen atop the roof of the car. The app is used to unlock the car and pop the trunk, if needed. Hop inside, and a calming voice greets the rider by name with encouragement to fasten seatbelts and enjoy the ride. A touchscreen allows riders to play music, see representations of vehicles, bicycles and pedestrians around them, request a speedy pullover or contact Waymo support if needed.

It’s important to note that Waymo rides don’t guarantee exact pickup and drop-off points. The app will display an approximate location where riders should stand and wait for the vehicle but users may need to walk around searching for where the car has deemed to be a safe area to pull over. This is especially relevant in locations like shopping centers or crowded downtown streets. The same fluctuation applies when the ride concludes. These aspects are part of participating as a tech “pioneer” as the product is continually being improved.

Brennan says the response has been overwhelmingly positive, and riders quickly become comfortable and enjoy having the car to themselves to take phone calls, interact with their friends, or listen to their favorite music.

“Like any new technology, some people are naturally skeptical about what they haven’t yet experienced,” Brennan says. “Our research shows as more people are exposed to the

technology — whether that means seeing the Waymo vehicles driving safely alongside them on the road or taking a ride themselves — acceptance continues to increase.”

FAST LANE TO THE FUTURE

Brennan says Waymo will continue to take a deliberate, methodical approach to expanding its capabilities within current service areas without compromising local needs, with an eye toward making a positive impact on local transportation infrastructure and mobility. The company is also looking to test new markets in a “thoughtful and meaningful way.”

At the top of Waymo’s priority list is safety. The company’s fleet has now logged millions of miles on public roads, with data showing that the Waymo driver is significantly safer than human drivers.

This combination of efficiency, availability, public buy-in and sustainability will certainly continue to change the way Phoenix residents get around town and perhaps even the physical landscape of its neighborhoods.

“The average personal vehicle is parked 95% of the time. We hope that Waymo can help more people feel like they don’t have to own a car in order to get comfortably where they want to go. And with less need for parking, we’d love to see more shade trees around town in its place.”

IIn the vast expanse of our Sonoran Desert, a battle is being waged by a largely unseen enemy. Invasive plant species, introduced by humans and spreading rapidly, threaten to upset the delicate balance of this fragile ecosystem. Leading the charge against these invaders is the Central Arizona Conservation Alliance and its community-driven initiative, Desert Defenders.

Founded in 2012, CAZCA is an initiative of the Desert Botanical Garden. Its mission is to conserve open spaces and natural areas in central Arizona for current and future generations.

“These areas are crucial for the ecosystem, local economy and overall sustainability of life in the desert,” says Challie Facemire, CAZCA’s program director. “Parks and open spaces with thriving native plant life aid in aquifer recharge, heat mitigation and provide recreational opportunities for people to enjoy.”

Of course, there are also the economic benefits of these natural areas.

Malta Star Thistle — long-lived winter annual from Eurasia that forms monocultures rapidly depleting soil moisture, with sharp spines at the base, deeply lobed whitish leaves and yellow flowers.

Photo by Marco Folini

Writer Joseph J. Airdo

Community involvement is key to preventing the spread of invasive species, as many of these plants originate from or enter urban areas. Challie

Facemire

“The unique beauty of the Sonoran Desert attracts tourists who come to hike in places like Camelback Mountain and the Phoenix Mountain Preserve,” Facemire explains. “By conserving these open spaces, CAZCA aims to preserve their ecological, recreational, economic, health and community benefits for the region.”

FIGHTING FLORA FOES

Invasive plants pose one of the most significant threats to the health of the Sonoran Desert. Species like buffelgrass, fountain grass, stinknet and red brome create monocultures, displacing native plants and reducing habitats for local fauna.

“Native plants have deeper root structures that contribute to aquifer recharge, while invasive plants may negatively impact water resources,” explains Facemire, noting that many invasive plants are also highly fireprone, increasing the risk of severe damage in ecosystems not adapted to fire.

“When a fire occurs in an area dominated by invasive plants, it spreads more easily, posing a threat to structures and property. Additionally, in the aftermath of a fire, invasive plant species often regenerate more rapidly than native flora, which can increase the risk of recurrent wildfires within the affected region.”

Juanita Armstrong, a natural resource specialist at Maricopa County Parks and Recreation, notes that invasive species have played a significant role in our community’s recent wildfires.

“The Cave Creek Complex Wildfire back in the 1990s was fueled by red brome and

Fountain Grass — perennial bunchgrass from Africa used in urban landscaping, with upright purplish stems, slender green leaves and a showy purplish bottlebrush inflorescence up to 15 inches long.

Photo by Yasuko Hirata

likely schismus (Mediterranean grass),” she explains. “Stinknet, red brome and Mediterranean grass fueled [2020’s] East Desert and Ocotillo fires, [while last summer’s] Diamond Fire [in north Scottsdale near McDowell Mountain Regional Park] was red brome and schismus alone.”

Facemire adds that buffelgrass, introduced to Arizona in the 1930s for erosion control and cattle forage, has become a particularly significant concern as it spreads quickly and greatly increases risks associated with wildfires. This has prompted innovative projects like the 2019 Buffelgrass Blues Project, created by then CAZCA engagement coordinator Annia Quiroz, which used environmentally friendly blue chalk paint to highlight the invasive grass on Piestewa Peak, raising public awareness and encouraging its removal.

To combat these threats, CAZCA launched Desert Defenders, a collaborative community science program dedicated to identifying, mapping and removing invasive species in local parks and preserves. Volunteers use apps to map invasive plants, enabling managers and volunteers to take action and organize removal events.

“Community involvement is key to preventing the spread of invasive species, as many of these plants originate from or enter urban areas,” says Facemire, emphasizing the importance of volunteer efforts.

“By removing invasive species from neighborhoods, residents can help prevent their spread into nearby preserves and open spaces.

“The Maricopa County Parks and Recreation Department relies on a

large volunteer group at each park, and the McDowell Sonoran Conservancy also has volunteers working in the McDowell Sonoran Preserve. The McDowell Sonoran Conservancy’s team educates new volunteers, teaches them how to perform the work and gets them started.”

The combined efforts of volunteers and organizations like the McDowell Sonoran Conservancy and Maricopa County Parks and Recreation have made a significant impact on the control of invasive species in the Sonoran Desert. Through research and hands-on removal, they have successfully removed invasive species from vast areas, including portions of the McDowell Sonoran Preserve and several regional parks.

“While exact numbers may be difficult to determine, their work over the past decade has been extensive and remarkable, covering acres upon acres of invasive plants,” Facemire notes. “These collaborative efforts demonstrate the power of community involvement in protecting and preserving the fragile desert ecosystem.”

INVASIVE INTERVENTION

Removing invasive plants from the Sonoran Desert is a challenging and ongoing task. The goal is to protect the native ecosystem and its inhabitants, ensuring that the desert remains enjoyable for visitors.

Mapping areas with invasive plants helps managers plan removal days, but the methods vary based on the plant species and infestation severity.

“When the infestation is severe, land managers may use herbicides to control the invasive plants,” Facemire explains. “For volunteerled efforts, invasive grasses like

Sahara Mustard — short-lived winter annual from Africa and Asia that invades disturbed areas, producing butterfly-shaped yellow flowers on bolting stems after forming basal rosettes.

Photo Courtesy of Joshua Tree National Park

Stinknet — 5-inch- to 2-foot-tall winter annual from Africa spreading quickly across Phoenix, with round “globe” flowers, an upright form and severe allergenic properties.

Photo by Annia Quiroz

Salt Cedar — trees that, introduced from Eurasia and Africa, grow 20–25 feet tall with a feathery, grayishgreen appearance, producing bright pink flower clusters and prolifically dispersing tiny wind-borne seeds.

Photo by Drew Avery

stinknet and buffelgrass are often pulled by hand. Buffelgrass can be more challenging to remove because of its ability to regrow from root nodes, requiring extra care to ensure complete removal.”

Recent advancements in technology have also aided in the fight against invasive grasses. In a pilot project at Apache Junction Park, drones were used to spot-treat buffelgrass from above, avoiding other plants and reducing the need for manual labor. This method allows for more efficient treatment of hard-to-reach areas and can save time and energy for both volunteers and staff.

“Community involvement is still the most crucial component,” says Facemire, noting that in the case of Apache Junction Park, the neighborhood helped identify the invasive grasses, which enabled the effective deployment of the drones. “By working together and utilizing technology, we can better protect our ecosystems from the harmful impacts of invasive species.”

Facemire adds that community members have a unique opportunity to contribute to the preservation of our beautiful desert landscape. By educating ourselves about invasive species, participating in volunteer efforts, and being mindful of our own yards and hiking practices, we can all play a part in protecting the Sonoran Desert for generations to come.

“One big thing people can do to help stop the spread of invasive species is clean their boots before and after a hike, make sure their pets are clean if they are going along, and clean out car tires before and after,” Facemire advises. “This helps stop the transport of seeds.”

CAZA’s program director reflects on her own journey in understanding the challenges posed by invasive species in Arizona.

“Through my degree program, I gained knowledge about invasive species and their detrimental effects on ecosystems,” Facemire explains. “However, diving into the specific challenges of Arizona has provided a deeper understanding of the local issues.

“Learning about the various methods of invasive species removal, including both manual and technological approaches, has given me insight into the hard work and dedication required for this task. I’ve come to appreciate the efforts of volunteers and those who actively participate in the preservation of the environment.”

The battle against invasive species in the Sonoran Desert is far from over, but with the dedication of organizations like CAZCA and the power of community collaboration, we can make a difference. By uniting in our efforts to protect this fragile ecosystem, we ensure that the beauty and wonder of the desert will endure for generations to come.

“Connecting with individuals who share a passion for combating invasive species has been a rewarding experience,” Facemire says. “Meeting these incredible people has allowed me to gain valuable perspectives and knowledge, while also recognizing the importance of collaborative efforts in protecting our natural world.”

cazca.org/project/desert-defenders

Photos by Juanita Armstrong

CANYONS

Did you know that the Grand Canyon creates its own weather?

Due to its immense size and depth, temperature and air pressure differences between the top and bottom of the canyon can create unique weather patterns, including sudden changes in wind direction and speed and even isolated thunderstorms.

WWhile discussing ideas for this month’s photo essay, Flagstaff-based landscape and wildlife photographer Eric Flatt posed a thoughtprovoking question: “Have you heard about the quintessential elements that define Arizona, famously known as the five Cs?”

For those who need a refresher, Arizona’s original five Cs were engraved on its state seal when it achieved statehood, representing cattle, citrus, climate, copper and cotton.

“These pillars served as the foundation for the state’s early economy, with a strong emphasis on agriculture, ranching and mining,” Flatt explains. “Even today, they continue to significantly influence Arizona’s economic landscape and cultural identity.”

However, Flatt believes there’s more to Arizona’s identity than these five elements alone. He proposes an expansion of this iconic list to include two more quintessentially Arizonan features.

“Allow me to advocate for expanding this list to include canyons and cacti,” he asserts.

“After all, Arizona boasts the awe-inspiring Grand Canyon and many cactus varieties that adorn the state’s landscape. These two additions enrich the list and encapsulate the distinctive essence of Arizona’s geography and natural allure.”

In this month’s photo essay, Flatt takes us on a visual journey through Arizona’s seven Cs, offering a captivating exploration of the state’s diverse landscapes and rich cultural heritage. Each image, masterfully captured, invites us to reflect on the enduring influence of these seven elements and their profound impact on Arizona’s identity.

Join us as we dive into the heart of Arizona’s past, present and future through the lens of Flatt’s evocative photography, which brings the state’s seven Cs to life with striking beauty and depth. Through his keen eye and artistic vision, Flatt reminds us of the importance of preserving Arizona’s unique cultural and natural treasures for generations to come.

Writer Joseph J. Airdo // Photography by Eric Flatt

“CACTI

The iconic saguaro cactus, which can grow to an impressive height of over 40 feet, has a unique and extensive root system. Despite the cactus’s towering height, most of its roots are only 4–6 inches deep, and they can extend as far from the plant as it is tall, helping the saguaro gather and store water in Arizona’s arid desert environment.

“CITRUS

The citrus realm encompasses a variety of fruits, such as oranges, lemons, grapefruits and more. There is nothing quite like the aroma of orange blossoms in the spring or the exquisite taste of freshly picked oranges.

Eric Flatt

CLIMATE

Arizona has three distinct regions: plateau, mountain and desert. Each boasts unique geographical features, wildlife, natural resources and climatic conditions. Within a two-hour drive, you can go from the arid expanses of the Sonoran Desert to the lofty peaks of mountain ranges.

Eric Flatt

COPPER

Since 1910, Arizona has been the nation’s leading producer of copper. A whopping 68% of all the copper produced in the U.S. comes from our state.

Eric Flatt

COTTON

Cotton cultivation has a rich history spanning more than a millennium, tracing back to the Hohokam and Akimel O’odham in central Arizona and the Hopi and other Puebloan communities in northern Arizona. Currently, Maricopa and Pinal counties are prime cottongrowing regions, offering the ideal long and warm growing seasons.

Eric Flatt

About the Photographer

CATTLE

Arizona’s cattle date back to 1690 when Spanish settlers introduced the first cows. The state’s vast rangelands, managed by the federal government, span about 11.5 million acres and provide essential grazing grounds for livestock.

Eric Flatt

Eric Flatt, affectionately known as “E” among friends, is a Flagstaff-based photographer with a deep passion for capturing the raw beauty of nature through his lens. Specializing in landscape and wildlife photography, Flatt has a keen eye for detail and an unwavering commitment to authenticity.

“I immerse myself in nature’s tonic by capturing images of textured landscapes below moody skies and stealthily pursuing wildlife in their remote habitats,” Flatt says, highlighting his dedication to exploring the diverse elements of the natural world.

In an era dominated by AI-generated images and heavy editing, Flatt takes pride in keeping his work as true to life as possible.

“What you see in my images is what you see in nature,” he explains.

This commitment to realism allows viewers to fully appreciate the beauty of the landscapes and wildlife he captures.

Flatt’s journey to obtain the perfect shot often involves navigating challenging terrain, whether it’s “four-wheeling on gnarly dirt roads, hiking into remote wilderness areas or finding solace awaiting perfect light.” He believes these experiences add depth and character to his work, allowing him to share the beauty of the natural world with others.

To those admiring his photographs, Flatt encourages them to fully immerse themselves in the images and embrace the sense of wonder they evoke.

“Get lost in the images, let your eyes dance and your mind wanderlust,” he says. “Enjoy the journey!”

IIn an unassuming art studio in Phoenix, algorithmic processes whir into motion, translating streams of data into abstract visualizations that ebb, flow and metamorphose across digital canvases. For multimedia artist Casey Farina, this automated choreography of light and sound isn’t just a showcase of leadingedge technology — it’s a portal into new frontiers of creative expression.

By harnessing the unpredictable potential of generative systems, Farina sculpts audiovisual worlds that beckon viewers to not just observe, but sometimes also participate.

“I create audiovisual artwork with generative algorithms,” he describes. “I’ve always been fascinated by setting up a series of rules or conditions in a computer and then running that process over and over to observe the results. My work focuses on transcoding digital information between sound and image.”

Farina’s work epitomizes how Arizona, with its blossoming arts scene and technology corridors, has emerged as a vital hub for artists synthesizing code with free-flowing creativity. At the vanguard of this innovative movement, he crafts dynamic experiences that expand how we experience and contextualize art itself.

Writer Joseph J. Airdo // Photography by David Guerrero, Pixel Thick Productions

Dive into the pioneering multimedia works of Phoenix artist Casey Farina, who harnesses generative algorithms and explores concepts like randomness and indeterminacy to sculpt immersive, interactive audiovisual experiences.

COMPUTATIONAL CREATIVITY

Although Farina’s creative process leverages cutting-edge tools, his inspiration harks back to pioneering 20th-century artists and composers who challenged conventions.

“My artistic path is somewhat unconventional,” he explains. “I started primarily as a musician, earning both my undergraduate and master’s degrees in music. Over time, these elements gradually merged and accumulated along my artistic path.”

An early exposure to the visual programming environment Max/MSP/Jitter, which represents code as interactive diagrams instead of text, kicked off his fascination with generative art. It was an audiovisual demo linking the radical indeterminist philosophies of John Cage with the chaotic tonal experiments of researcher John Chowning’s frequency modulation synthesis that revealed deeper possibilities.

“Chowning’s FM techniques exhibit wild, unpredictable results when creating new sounds — not unlike incorporating randomness and relinquishing total control,” Farina describes. “In this computer example, frequency modulation was combined with indeterminacy, or relinquishing control. Instead of manually adjusting parameters, the computer-generated random numbers and the output were curated.”

By setting initial conditions but then ceding authorship to autonomous computer processes, Farina brings those avant-garde concepts into a contemporary framework.

“My recent show ‘Possibility Spaces’ reflected this theme of engaging indeterminacy, shaping the

I search for unexpected and intriguing outcomes, or ‘happy accidents’ as I like to call them.

Farina’s interactive installation “Neural Networks” enables participants to interact with generative animation systems in real time.

“Possibility Spaces” is a video sculpture that combines generative animation and digital fabrication. The laser-cut acrylic overlay is digitally fabricated from one frame of the generative animation.

process and curating its output,” he says. “My algorithmic practice produces audiovisual artworks composed of entities that move and produce sound. As these entities interact with each other in unexpected ways I am looking for “emergent behavior” or “happy accidents” that are aesthetically compelling.”

Interactive Innovations

While Farina’s generative processes automate aspects of image and sound generation, his role transforms into an active curator and composer of the results. His works even sometimes incorporate interactive elements that enable each participant’s indirect influence to alter the experience.

In 2020, Scottsdale Arts invited Farina to showcase two of his innovative works — “Across the Divide” and “Keeping Time” — during Canal Convergence, an annual temporary outdoor exhibition of innovative, large-scale public art installations by local, national and international artists.

He returned to the event the following year with another installation: “Time Stream.” Jennifer Gill, deputy director at Scottsdale Arts’ Canal Convergence, describes the artwork as having been an interactive digital environment that provided an instant reaction to the viewer’s movements in the digital sphere.

“This use of technology combined with the color, form and movement of the piece created a sense of not just joy and awe for participants but also curiosity,” Gill explains. “From here, people could choose to continue to engage with the piece and discover its deeper meaning relating to time and the ‘butterfly effect.’”

She adds that combining immersive technologies with layers of artistic expression and meaning made for an exemplary installation for Canal Convergence, which she notes serves as an inclusive entry point into the art world that welcomes people of all ages, genders and backgrounds.

“By combining his abstract visual language with projection and interactive technology, Casey’s work successfully opens the door to the public in both a fun and thoughtful way,” says Gill, underscoring how participatory technology is one of the core components that makes Canal Convergence such a unique and engaging experience.

“These types of technologies allow artists to engage the public in a truly unique way, creating powerful memories

“I Am Nature” is a short film created using generative systems. This project is a collaboration with composer Daniel Lentz and percussionist J.B. Smith.

A series of frames from Farina’s “Traversal” series of video sculptures.

“Keeping Time” is an ongoing creative project that explores our relationship to time through cyclical structures. The original version of this project was a commision from Scottsdale Public Arts for Canal Convergence.

and experiences that can stimulate the mind and reframe the definition of art itself. Casey’s exploration of randomness and indeterminacy through abstract forms and movement speaks to an exceptional interpretation of our event themes, presenting a new perspective with each iteration he participated in.”

Crucially, Farina rejects the notion of imparting any singular message or intentional meaning into his works.

“When I create art, I don’t approach it with a specific message in mind,” he says. “The traditional artist-audience relationship, where artists create art and people simply observe it, doesn’t fully resonate with me. While I understand the complexities of this dynamic, I believe that the richness of individual experiences and interpretations transcends any singular message or explanation I could provide.”

ARTISTIC ASSISTANCE

As artificial intelligence capabilities accelerate, new creative prospects and philosophical quandaries have emerged regarding computational co-creation. Farina has actively explored the roles AI could play, from generating images based on text prompts to automating programming tasks, and remains optimistic about AI’s creative potential when integrated thoughtfully by human artists.

“In the art world, those using AI as a tool in a larger process create the most interesting work,” says Farina, adding that he has found applications like Stable Diffusion useful for rapidly prototyping code. “I can now generate syntactically correct code for specific tasks, with only minor adjustments needed. This has significantly increased my productivity.”

Ultimately, Farina believes AI’s ascendance won’t replace human artistic expression but will become another tool in the creative arsenal of artists exploring new mediums — an extension of the generative processes he currently wields.

“Stephen Wolfram’s work, particularly his book ‘A New Kind of Science,’ has greatly influenced my recent work,” Farina shares. “His research into cellular automata, which produce emergent behavior from simple rules, inspired me to develop meta systems that generate multiple layers of complexity.”

“Cellular automata, often visualized as black and white grids, can create patterns found in nature, such as those on turtle shells or conch shells. However, the mechanism behind the manifestation of patterns in the real world is still unknown. In exploring cellular automata rules, Wolfram discovered irreducible phenomena, which are unpredictable and lack traditional scientific shortcuts. The manifestation of art, rather than just the idea, is still necessary, and there’s no shortcut to creating art by simply typing a prompt into an AI. I believe the artistic process is irreducible.”

At the intersection of human ingenuity and computational prowess, Farina’s pioneering multimedia works reveal shimmering new aesthetic realms. By sculpting audiovisual experiences that unfurl based on systematized rules yet allow space for randomness, evolution and personal connection, his artistic practice manifests an ethos of perpetual curiosity and openness to possibility itself.

As his portfolio continues to evolve and inspire, Farina welcomes commissions and purchase inquiries via email at caseyfarina@gmail.com.

caseyfarina.com

A

series of frames from Farina’s “Traversal” series of video sculptures.

AArizona, and the Valley of the Sun in particular, is not reputed to have four seasons. We are roughly confined to two seasons — what other states might consider cool fall temperatures alternating with scorching, oven-level heat. We’re also a state with unparalleled sunsets, natural beauty and talented artists and performers.

From May 15 to June 1, Ballet Arizona will bring together the best elements of life in the Grand Canyon State in a performance of Antonio Vivaldi’s “The Four Seasons” at Desert Botanical Garden.

The production, choreographed by celebrated artistic director Ib Andersen, takes the audience on a balletic journey through the seasons with the sky as proscenium and a scrim formed by the Papago Buttes and desert flora.

“This score has to be one of the most celebrated in the classical canon, and it is proving to be as fun as it is challenging to choreograph [for] our dancers,” Andersen says. “There is so much depth and so many layers to this piece. It is actually 12 different movements, and it changes constantly and dramatically. This piece will be a visual feast full of exquisite energy that can only be enhanced by the outdoor desert landscape.”

The beauty of the garden, and especially the backdrop provided by the Papago Buttes, provides the perfect outdoor stage for the magic that Ballet Arizona creates each year. I think it’s a match made in heaven and the results are divine. Ken Schutz

The company’s 30 professional dancers from around the world are adorned in beautiful costumes hand-painted by Andersen, designed and produced in partnership with costume director Leonor Texeira. The pieces highlight the grace and athleticism of the dancers and are enhanced as the lighting changes with each season.

CABRIOLES AND CACTI

Guests can arrive about 45 minutes before the familiar strains of the violins that begin the “Spring” concerto echo amid the spreading branches of the palo verde trees and may purchase a picnic dinner to enjoy while the dancers warm up on stage.

Seating is divided into stadium risers, standard and premium table seating that is closest to the stage. It’s a casual, summery setting that is certainly a departure from the company’s home stage at Phoenix Symphony Hall downtown. It’s also one of the most popular performances of the year and tends to sell out quickly.

Averi Gutierrez, the director of marketing for Ballet Arizona, says the performance start times each night are dictated not by the clock but by nature.

“We start just when the sunset kisses the horizon,” she says. “It’s an event that is uniquely Arizonan and cannot be replicated anywhere else in the country because of the uniqueness of the desert landscape. It’s the perfect marriage between art and nature.”

Ballet Arizona’s partnership with Desert Botanical Garden was first envisioned by Ballet Arizona board member emerita Carol Schilling and Desert Botanical Garden executive director Ken Schutz. Bringing arts experiences to the garden for its members has been a strategic priority for Schutz.

“The Garden and Ballet have been collaborating on the project for 12 years now and the results just keep getting

Writer Shannon Severson // Photography by Andrew Brigade, Digital Perceptions

The beauty of the desert landscape complements the poetry in motion of Ballet Arizona.

better,” Schutz says. “The beauty of the garden, and especially the backdrop provided by the Papago Buttes, provides the perfect outdoor stage for the magic that Ballet Arizona creates each year. I think it’s a match made in heaven and the results are divine.”

Audiences agree, and the feedback that Ballet Arizona has received has been glowing.

“The location of the stage and time of day was absolutely perfect — obviously chosen on purpose,” said one guest. “The sunset silhouetting the mountains with a crescent moon just hovering above was a magical backdrop to the... spotlightintensified trees and cacti. The layers of nighttime sky, mountains, trees and performers were incandescent; truly magical.”

The dancers’ skill must contend with a few challenges of an outdoor performance.

“It’s an adventure for [the dancers] just as much as it is for the audience members,” says Gutierrez. “Dancing outdoors, dealing with the wind [while] landing on point, the environment and staging. It’s an opportunity to experience ballet in a new way [for the dancers and the audience].”

The popularity of these outdoor performances is something Ballet Arizona has seized on to create outreach to audiences that may not have ever considered setting foot inside a grand performance hall.

“Ballet Under the Stars” is a series of performances that take place in public venues around the Valley each September. Admission is free and presented by the Diane and Bruce Halle Foundation. The

Ballet dancers adorned in exquisite costumes handpainted by artistic director Ib Andersen bring Vivaldi's “The Four Seasons” to life against the desert backdrop.

company’s professional dancers give audiences a sneak peek at each upcoming season with a medley of classical and contemporary performances that can be experienced during the season.

“Ballet Under the Stars is a fantastic opportunity for folks who are new to ballet as well as longtime ballet lovers to come together as a community and enjoy a free performance,” says Claire Schmaltz, Ballet Arizona’s community engagement manager.

A special performance is added each night featuring the young participants in Ballet Arizona’s Class Act program. In each host city, the initiative gives elementary students from one school the opportunity to pair up with the professionals. They learn ballet steps, choose music and create a completely unique work over the course of three hours before the stage lights come up, much to the delight of their parents and audience in attendance.

“Children arrive in tutus and dance the night away. Families have entire picnics before and during the performance, and the performance is always stunning, showing the full breadth of what Ballet Arizona can do. It’s the perfect community builder for anyone and everyone who is looking for an opportunity to relish the Arizona landscape right in their own cities.”

POETIC PERFORMANCE

At the Desert Botanical Garden performances, the landscape becomes a main character in the production. The spiky ocotillo

and flourishing foliage of Mexican bird of paradise catch the light and shadows as the dancers spin and leap. Spring, summer, fall and winter take human form as the audience is swept up in rapt attention.

Ballet is often described as “poetry in motion,” and the description is particularly apt for a musical score like “The Four Seasons.” The Italian composer Antonio Vivaldi, who wrote the well-known group of four violin concertos in 1720, published them in Amsterdam in 1725 with a set of accompanying poems that many believe were written by him.

It’s a glimpse into what Vivaldi was trying to communicate and is written onto the pages of music. The seasonal scores are divided into three movements each, separated by tempos: fast, slow, fast. They echo the meter of a sonnet.

As the dancers jeté onto the stage, the sun dips low and stars begin to twinkle overhead. Audiences see Vivaldi’s words in motion:

“Spring has arrived with joy Welcomed by the birds with happy songs, And the brooks, amidst gentle breezes, Murmur sweetly as they flow.”

While we may not physically experience all four seasons here in the desert, we have glorious opportunities like this one — enjoying the arts surrounded by our unforgettable sunsets and natural environment.

balletaz.org

Vivaldi’s “Spring” comes alive through the artistic vision of choreographer Ib Andersen.

Dancers leap and twirl as the desert sun dips below the Papago Buttes.

Desert flora provides a natural stage for the talents of Ballet Arizona’s performers.

Scandalous Brownies

Makes: 25–30 Brownies

Directions:

Ingredients:

For the Chocolate Chip Cookie Crust:

3/4 cup butter, room temperature

1/2 cup sugar

1/2 cup brown sugar

1 teaspoon vanilla extract

1 1/2 cups flour

1/4 teaspoon kosher salt

1 1/2 cups mini chocolate chips

For the Salted Caramel Sauce:

1 cup sugar

1/3 cup butter

1/2 cup heavy cream, warmed

1 teaspoon sea salt

For the Brownies:

1 cup Heath bits, divided

18 Oreo cookies

3/4 cup butter, melted

3/4 cup sugar

3/4 cup brown sugar

2 eggs

1 teaspoon vanilla extract

3/4 cup flour

1/2 cup cocoa powder, sifted

1/2 teaspoon baking powder

1/4 teaspoon kosher salt

Preheat oven to 350°F. Line the bottom of a 13x9-inch baking pan with parchment paper.

These Scandalous Brownies, originally known as Slutty Brownies, are a layered dessert featuring chocolate chip cookie crust, salted caramel sauce, Heath bits, Oreo cookies and fudgy brownies. These indulgent treats will satisfy even the most intense sweet cravings!

For the chocolate chip cookie crust, cream butter, sugar and brown sugar using an electric mixer on medium speed. Add vanilla extract, then mix in flour, salt and mini chocolate chips on low speed. Press the mixture into the bottom of the prepared pan.

For the caramel sauce, melt sugar in a medium, heavy-bottomed saucepan over medium heat. Whisk until completely melted, then let the sugar cook to a deep amber color without whisking. Add butter, then remove from heat and stir in cream and sea salt.

Pour 1/2 cup caramel sauce over the chocolate chip cookie crust, sprinkle 1/2 cup Heath bits over caramel and place Oreos on top.

To prepare the brownie batter, whisk together melted butter, sugar, and brown sugar in a large bowl. Add eggs and vanilla extract, then mix in flour, cocoa powder, baking powder and salt. Spread batter over Oreos and top with remaining 1/2 cup Heath bits.

Bake for 25 minutes, then let cool completely before refrigerating for 1 hour for easier cutting.

Writer and Photographer Francine Coles

Reimagine Elegance

FROM ORDINARY TO EXTRAORDINARY

PRE-REDESIGN

RUBY PARURE REDESIGN STORY

Ruby and Diamond Earrings

2 Oval Red Ruby (8.23 ctw) set with 14 diamonds (4.38 ctw) set in platinum

Ruby and Diamond Bracelet

20 oval shape rubies (21.12 ctw) and and 20 cushion cut rubies (6.13 ctw) and 20 marquis shape diamonds (8.10 ctw) set in platinum

Ruby and Diamond Ring

Emerald cut ruby (3.01 ctw) set with two emerald cut rubies (.82 ctw) and 14 diamonds (1.77 ctw) set in platinum scalloped halo ring

Created by David Gross for Grace Renee Gallery