Images Arizona April 2018 by Images Arizona Paradise Valley

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EXPERIENCE ART IN THE BEAUTY OF SEDONA

SHAPING THE DESERT PALETTE

A GEM IN THE DESERT Writer Amanda Christmann

Writer Lynette Carrington

Writer Amanda Christmann

Cover photo Brandon Tigrett

Writer Amanda Christmann

Writer Kyndra Kelly

COMMUNITY EVENTS

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THE COLORS OF TRADITION

SALMON CAKES

WINECELLAREXPERTS.COM 15979 N. 76th St., Suite A, Scottsdale

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PUBLISHER Shelly Spence

MANAGING EDITOR Amanda Christmann

GRAPHIC DESIGNER Meaghan Mitchell

CONTRIBUTING WRITERS W. James Burns, Ph.D. Lynette Carrington Amanda Christmann Sue Kern-Fleischer Gregory Granillo Kyndra Kelly Kenneth LaFave Lara Piu Shannon Severson

PHOTOGRAPHERS Scott Baxter Bryan Black Kyndra Kelly Loralei Lazurek Brandon Tigrett

ADVERTISING SALES Loren Sheck 480-309-6410 loren@imagesaz.com

Images Arizona P.O. Box 1416 Carefree, AZ. 85377 623-341-8221 imagesarizona.com Submission of news for community section should be in to shelly@imagesaz.com by the 5th of the month prior to publication. Images Arizona is published by ImagesAZ Inc. Copyright © 2018 by ImagesAZ, Inc. All rights reserved. Reproduction, in whole or part, without permission is prohibited. The publisher is not responsible for the return of unsolicited material.

Local First A R I Z O NA

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They say change is good for the soul. As we laid out this month’s edition and fine-tuned a few things—this month, making our Community listings cleaner and more user-friendly—I realized just how well it all must be with my soul thanks to the change we experience every day. We are growing, as a magazine and as a community. It seems that every month we begin new traditions to celebrate who we are, and to remember where we have been. Through the years, the North Valley has cultivated and nurtured emerging artists and musicians, unique businesses and an array of now-annual events. This month’s edition is packed with visionaries who are forging their way through creativity and originality. Each is part of an ongoing storyline— one older than history. From the very beginning, the possibilities hidden within the vastness of our desert soil has always attracted innovators who, thankfully, have not been afraid to realize their dreams. I hope you will enjoy this month’s stories as much as I do, and I’m ever grateful for the dreams that you, and the rest of our community, have supported. I feel fortunate to wake up each day and know that our Images Arizona family has the opportunity to be part of it all. Cheers! Shelly Spence Publisher, Images Arizona magazine shelly@imagesaz.com 623-341-8221

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Blue Reach - Michael Bolen

Blue Moon Sterling Silver Ring - Bonnie Sedan

Texas TwoStep - Julie Ronning Talbot

Writer Lynette Carrington // Photography by Mike Upp

Each year, the Sedona Visual Artists’ Coalition invites guests from across Arizona to visit stops on the Spring Open Studios Tour, which provides a unique opportunity for guests to visit artists in their studios. For the first time in 15 years, the tour will encompass three days of artistic insight and excitement April 27 through 29. The free event has grown by leaps and bounds since its inception, and each year more art aficionados and collectors are able to take part in the self-guided tour that includes Sedona, Cornville, Cottonwood, Camp Verde, Clarkdale and Oak Creek.

provides an opportunity to gain a deeper appreciation and understanding of the creative process,” explained Upp, who also heads up Earth and Fire Ceramic Design along with his wife, Sharon Upp. Over the course of the three-day Open Studios tour, visitors will step into the artists’ world and discover what inspires them and how they work. In addition to creating art, artists answer guests’ questions and provide a firsthand look into their creative processes. Artists included in the tour create in a variety of media including clay, glass, paint, digital art, jewelry, fiber, weaving, mixed media, photography and much more.

The tour, presented by the Sedona Visual Artists’ Coalition (SVAC), began with a handful of artists and has now expanded to include 67 artists in 42 studios. Clay artist Mike Upp and painter Julie Ronning Talbot are board members of the SVAC. They have co-chaired the Sedona Artists Coalition Spring Open Studios Tour for the last six of its 15-year history.

“I really believe in the business model. It’s doing the studio tour like the winery model,” Upp said. “Years ago, you’d go to Napa Valley and wine tasting wasn’t that big of a deal. Now, it’s a big business. The wineries recognize the opportunity to sell to the public and to get direct feedback. Ours is really the same model.”

“For the visitor, the Open Studios experience invites the artwork to speak much more intimately to them as it

Upp continued, “To me, this is so much better than packing up all of our art and taking it to Valley art festivals. On the

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Blue Green Pitcher - Mike Upp

Bee Jewelry - David Huntsbarger

Live Edge Vessel Clay - Sharon Upp

customer side, it gives them the chance to get inside of a working studio. I believe in the aspect of helping people better understand how art is created, and in my instance, that would be ceramics.” Upp enjoys showing guests that often something that sounds simple, like adding a handle to a mug or pitcher, is actually a lengthy and involved process that takes a lot of skill. “About 35-40 percent of people who visit the studios are repeat visitors,” Upp explained. “The people who return are definitely shoppers and collectors. Some people are buying gifts and some people buy so many of our ceramics, I’m not sure what they’re doing with all of it!” Some guests are art collectors seeking out artists, and other guests are those who find the information online or in Sedona and visit because they are curious about the Open Studios tour. Upp added, “Some people stop and may not buy anything at our studio, but they might buy something at a studio up the road. Sometimes, they get inspired.” Brochures with a map and list of participating artists will be available in locations throughout Verde Valley, as well as at the Sedona Arts Center and the Chamber of Commerce Visitor Center in Uptown Sedona. For a complete list of participating studios and a map, visit sedonaartistscoalition.org. The thrill of getting to meet an artist and see them working in their own

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Early Snow - Barbara Donahue

Flowing - Karl Williams

Glass Torch - Pilisa Rainbow Lady

Experience Spring Sedona Open Studios Tour

Friday–Sunday, April 27–29 Friday and Saturday, 10 a.m.–5 p.m.; Sunday noon–5 p.m. Locations available online Free sedonaartistscoalition.org

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environment often creates unique relationships. The personal experience of bonding with an artist also helps to inspire people who become art collectors. “The wide range of style, quality and art forms is a testament to the thriving vitality of the arts community in Sedona and the beautiful Verde Valley,” Upp said. “This is the excitement of helping people gain a deeper understanding of producing art. A lot of artists feel the same way.” The Sedona Visual Artists’ Coalition is a 501(c)3 non-profit educational and charitable organization that welcomes artists of all levels and encourages creativity, community and camaraderie. Membership benefits include artwork promotion on the non-profit’s website, bi-monthly event announcements in its newsletter, opportunities to show art, social events, networking and the opportunity to participate in Open Studios tours.

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Maura Allen (Denver, CO) Morning Ride acrylic on panel, 48â&#x20AC;? x 36â&#x20AC;?

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Writer W. James Burns, Ph.D. // Photography Courtesy Desert Caballeros Western Museum

Fifty-eight of the most talented Western American women artists will be luring collectors and art lovers from around the globe out Wickenburg way for seven weeks this spring. The 13th Annual “Cowgirl Up! Art from the Other Half of the West” is on view at the Desert Caballeros Western Museum in Wickenburg through May 13, 2018. If you have never experienced this exhibit, you are missing one of Arizona’s art treasures. Cowgirl Up! was created in 2006 as a counterpoint to the allmale Cowboy Artists of America exhibition hosted for decades by the Phoenix Art Museum. Few venues existed for women Western artists to show and sell their work exclusively. Desert Caballeros Western Museum stepped in to fill the void, and Cowgirl Up! quickly became the most important exhibition in the nation for women Western artists. Cowgirl Up! 2018 provides an opportunity to see an extraordinary selection of Western American art all in one place, at one time. Artists are rotated each year; longtime favorites are comingled with new artists offering everchanging interpretations of the West. Since its inception, 185 sculptors and painters have been included. The phrase “Western art” conjures up traditional images of cowboys and cattle, wagons, horses and Native Americans. These subjects are featured in the work of some of the Cowgirl Up! artists, but the exhibition as a whole strikes a balance between traditional and contemporary artistic styles and imagery, embodying the museum’s tagline: “Old West, New West, Next West.”

Denver-based artist Maura Allen creates stylistically contemporary work such as “Morning Ride,” incorporating traditional subject matter. The intermountain West, a rich source of material for her work, remains home to ranches, rodeos and vintage main streets. She is particularly drawn to ranch families and the way traditions are passed from one generation to the next. Landscapist Jessica Garrett draws inspiration from the environment, and landscapes abound in Cowgirl Up!. Synonymous with the American West, landscapes were not always considered Western art as they are today. One of the youngest-ever Cowgirl Up! artists, Garrett is an Arizonan who paints throughout the region. She conveys the feeling of the landscape in works such as “Blinding Beauty” using traditional techniques and a fresh emphasis on color. Child prodigy Erin Hanson was painting commissioned works by age 10, and was employed as an artist after school by age 12. Drawn to vistas and natural beauty, Hanson creates one painting a week, frequenting national parks and remote areas to provide source material for her work. “North Canyon” reflects Hanson’s minimalist approach of placing impasto paint strokes without layering, a technique she pioneered that has come to be known as open impressionism. Rhythm and color are integral to her contemporary style. Working in a style similar to Hanson’s, Wisconsin-born Shelby Keefe employs different techniques to depict the built apri l 2018

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Shelby Keefe (Milwaukee, WI) Yarnell Classic oil on linen, 22” x 28”

environment in “Yarnell Classic.” The vintage Ford and classic Texaco symbol are ubiquitous to rural communities across the mid-20th century United States, but the distant landscape and cerulean sky are unmistakably Western. Keefe reminds viewers that the West is not all pastoral scenes; she also paints urban landscapes, from neighborhoods to industrial scenes.

Former biochemist and accountant Sheri Farabaugh learned to paint in retirement. She muses: “It is a bit of magic that with nothing but a squeeze of paint, good brushes and a receptive surface, you can tell a story. The hope of pulling off that little miracle every now and then is what brings me to my studio almost every day.”

Longtime portraitist Marcia Molnar prefers to combine styles and techniques, often including the figures or fauna of the West in her work. She creates pieces such as “Rain Dance” from her Prescott studio, clearly influenced by the surrounding environment and nearby ranches. Geometric clouds loom large in the sky that dominates this painting. Will it actually rain, or is this just virga?

“Hydrangeas” is a classic example of her photo-realistic style; much of Farabaugh’s work is part still life, part landscape.

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Cowgirl Up! artists utilize contemporary and classic Western iconography to evoke a sense of place; the subject matter and styles of these artists span the spectrum of Western art, expanding our horizons and redefining the genre. Their work adds depth and dimension to the field.

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Erin Hanson (San Diego, CA) North Canyon oil on canvas, 30” x 24”

Experience Cowgirl Up! Art from the Other Half of the West

Through May 13 Monday through Saturday, 10 a.m.–5 p.m. Sunday, noon–4 p.m. Desert Caballeros Western Museum 21 N. Frontier St., Wickenburg 928-684-2272 westernmuseum.org

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Sheri Farabaugh (Thornton, CO) Hydrangeas oil on hardboard, 20” x 16”

More than a sale and exhibition, Cowgirl Up! is an opportunity to publicly recognize the significant contributions of women Western artists to the Western American art world. In a realm dominated by men, these talented women artists have a chance to thrive. Collectors, curators and the public celebrate the many values of their work. Cowgirl Up! helps to right a wrong and to give women Western artists a place alongside their male counterparts. Filling much of the museum, Cowgirl Up! features over 200 works in a Main Gallery, and a Miniatures Gallery, which offers artwork within the financial reach of emerging collectors.

Collectors have an opportunity to get to know the artists and visitors periodically encounter some of the artists in the gallery during the course of the exhibition. Cowgirl Up! has become a mindset over the years as the artists, collectors, and patrons have interacted and formed lasting friendships. westernmuseum.org

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Every artist undergoes a conjuring of sorts: a nearly magical moment in which ideas are created from a palette of experiences, interpretation and inspiration. The artist chooses a medium then expresses that idea in a combination of color, texture and scale. For the lucky few, others connect through their creations, forming a bond through shared thoughts and emotions, and enjoyment of the work. Chad Norris is such an artist. His medium is the desert itself. The 2017 winner of Phoenix Home and Gardensâ&#x20AC;&#x2122; prestigious Masters of the Southwest award is a landscape designer who, at 30, was the youngest recipient in the awardâ&#x20AC;&#x2122;s history. To compare his work to much of the landscaping found in yards across the city is like comparing house painters to muralists; they may use many of the same tools, but the results are vastly different.

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Writer Amanda Christmann // Photography by Loralei Lazurak

For starters, Norris, who is lead designer at Desert Foothills Landscape, never presents potential clients with drawings of his proposed work. Instead, he carefully assesses the living space and surroundings for style and function, and then develops a written narrative of his vision. “I tell the story so they can start to get a mental image,” he explains. “I talk about what it does, why we’re doing what we’re doing, where it’s placed and how. Those are the bullet points to get them to understand and recognize what’s going to happen. Those elements are more important to understand than anything they can get from circles, dots and squares on paper.” It’s an unconventional approach, but for those willing to trust in his creative process, Norris seldom, if ever, disappoints.

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Another of Norrisâ&#x20AC;&#x2122;s trademark talents is his ability to move between rustic and contemporary styles. Many Phoenix area homes tend to lean toward Santa Fe or territorial architecture. For these spaces, Norris focuses on natural and created mounds and contours for his designs. For contemporary homes, he creates a more linear feel with flattened earth and larger groupings. Either way, the effects are stunning. Within Norrisâ&#x20AC;&#x2122;s designs are palettes of desert-loving succulents carefully cultivated in Desert Foothills Landscapeâ&#x20AC;&#x2122;s private nursery. Few and far between are baby plants that have yet to grow into their glory.

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Norris and his crew scout the city for plants that are rare, mature and full of character, then use them in combinations that allow each plant to stand out. Spiny saguaros and organ cacti, burly barrel cacti and spicy pops of color from festive lantanas and bright plumbagos form vignettes of texture, color and shape. Spiky blue agave and yuccas provide balance for the round visual elements, and aromatic sage and rosemary add whisps of fragrance.

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As people are evolving and styles are changing, people are becoming more interested in high visual impact landscaping.

The ground becomes a living canvas, often echoing shapes of surrounding mountains, making them appear as if they are extensions of the yard. Inside the house, the style and artwork on the walls is reflected outdoors. Windows become picture frames depicting thoughtfully planned, ever-changing scenes of shapes and colors, each with a developing story of its own as winter turns to summer and the color palette changes. Norris comes by his passion for molding the land and flora honestly. He scooped his first shovelful of dirt with his father, who still owns a landscaping company. Through the years, he practiced his trade doing everything from small residential projects to corporate landscaping. “It’s the only thing I’ve ever done,” he says with candor and confidence. Eventually he crossed paths with Mark Wdowiak, thenowner of Desert Foothills Landscape.

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“We meshed really well,” Norris says. “He was able to teach me his philosophy, how he thought about things.” It was the seeds Wdowiak planted in Norris’s mind that eventually blossomed into his own style. Upon Wdowiak’s retirement, his torch was passed to Desert Foothills Landscape’s new owner, Aaron Clark. Norris stayed on as lead designer and vice president of sales, and together their dreams have only broadened. “We want to share our approach with more communities,” Norris explains. “As people are evolving and styles are changing, people are becoming more interested in high visual impact landscaping.” Aside from his business acumen, his ability to use his creative process to help people love their homes and their outdoor spaces is his true passion. “Being able to build something from scratch that changes something significant about a home changes the quality of people’s lives. They want to spend more time outdoors. They love coming home, driving up their driveway to this oasis we’ve created. It’s something special.” In fact, it is something special. It’s just like nature—only better. dflaz.com

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S TU A R T G R AFF The Wright Stuff Writer Amanda Christmann // Photography Courtesy Frank Lloyd Wright Foundation

Ask nearly anyone in America to name a famous architect,

boards, particularly those focused on social justice issues.

and chances are good that the answer will be “Frank

He was a vice president at Valspar before stepping into his

Lloyd Wright.”

current role. He’s passionate and capable, and his vision seems to be just what the foundation needed.

Many of us know of the legacy Wright left in his many innovative buildings and homes, but there is so much more

“My goal is to prove that Frank Lloyd Wright’s ideas are

that Wright was, and still is.

more relevant now than ever,” he said, looking comfortable sitting on a bench outside his office in the nearly 80-year-

Stuart Graff, tapped to run the Frank Lloyd Wright

old complex Wright called home.

Foundation in 2016, is determined to carry on Wright’s legacy of buildings and ideas, and the spirit behind them.

He should be content here; the seeds that led him to this place were planted decades ago.

Warm and articulate, it’s clear that Graff is passionate about his assignment—yet there’s no doubt that his appointment

“My story begins with a school program in Chicago Public

turned a few heads at first. After all, it may seem strange that

Schools. I was not what you would call a good student back

the man charged with preserving the name and work of the

then,” he said with a laugh. “My teachers saw something in

world’s most recognized architect is not an architect himself.

me and placed me in a gifted education program.

A business leader and a lawyer trained in intellectual

“What I got out of it was a visit to Frank Lloyd Wright’s

property law, Graff has spent much of his life in service.

Rookery building. I found his work to be viscerally

For over 30 years, he has held positions on non-profit

interesting—although I don’t know that 8-year-old me

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My goal is to prove that Frank Lloyd Wright’s ideas are more relevant now than ever.

would have used that term. Later, I checked out every book

Wright’s easily identifiable organic architecture and the

I could on Frank Lloyd Wright architecture, and it started

philosophy that shaped it is the work of a man whose life

me on a path of thinking about what I wanted to do.”

evolved in phases, often instigated by tragedy and struggle throughout his nearly 92 years.

Besides appreciation for Wright’s holistic approach to design, there was another take-away for young Graff.

Though plagued by scandal, murder (his mistress, her two children and four others were murdered by an employee

“Frank Lloyd Wright was a farm kid from Wisconsin, yet

at his Prairie School in Wisconsin) and financial troubles,

he did things that completely changed and modernized the

Wright’s tenacious ability to weather the proverbial storm

world of architecture. To me, that meant that I had the

is one of his most valuable and overlooked contributions.

opportunity to improve the world as well.”

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That resolve remains in the stone and concrete walls of the Frank Lloyd Wright Foundation. Most recently, Graff’s guidance led the foundation through what was one of the most critical eras in the foundation’s often-rocky 77-year history. From his first day on the job, Graff faced significant challenges. The at

School Taliesin,

Architecture

then

called

the

Frank Lloyd Wright School of Architecture, foundation’s financial

was

under

the

governing

control.

and

had

separate itself as an independent corporation

face

losing

accreditation from the Higher Learning

Commission

(HLC),

one of two bodies that regulate architecture schools. The school raised $2 million in 2016 to prove its financial independence. Graff’s ideas, including his skill in intellectual property law, helped guide

the

school’s

shift

into

incorporating on its own. Its name was changed, its staff overhauled, and its branding modified to attract young, emerging architects. It is now under the supervision of school president Aaron Betsky. The school’s departure from the foundation’s responsibilities left a hole that Graff has happily filled with community building— something Wright would have surely appreciated.

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Graff and his staff have been busy developing an educational

In Scottsdale, he is changing the very purpose of Taliesin West.

initiative to bring Wright’s teachings into K-12 schools, focusing on a STEAM (Science, Technology, Engineering

“The worst thing we can do is maintain this legacy as

and Math + Art/Architecture) curriculum. Graff is

a house museum,” he said, sweeping across the home

preparing to launch a pilot program for Title 1 schools in

and campus’s 620 acres with an arc of his arm. Instead,

the Paradise Valley School District later this year.

Graff has reimagined it as a community gathering place, welcoming the arts and other collaborating organizations

He has also worked hard at building relationships within local, national and international communites, reaching out to the more than 70 other sites run under Wright’s name.

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through tours and events.

Through preservation, innovation and education, we can continue sharing these important ideas. This year, Taliesin West will be hosting Taliesin Next, a speakers’ series examining Wright’s legacy in today’s world. A larger focus will also be placed on theater and arts partnerships with groups such as Arizona School for the Arts and Southwest Shakespeare. “One of my biggest goals is instilling Arizona pride in Taliesin West, and in the fact that Wright chose Arizona as his home and desert laboratory. Wright came here to become inspired, to reinvigorate his work and experiment with

Each Visit includEs:

ideas that could eventually be

• Visual inspection of all rooms • Check HW heater • Check for pests, insects • Check landscaping, pool and spa • Check for signs of leaking • Check thermostats • Visual inspection of garage and systems • Run water, flush toilets • Check fridge

shared with the world. “Through preservation, innovation and education, we can continue sharing these important ideas.” Almost

two

years

into

his

mission, Graff admittedly has a lot of work left to do. “The big work ahead is that we are here to make a difference. We don’t want to be just a pastime for

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people. Just as Wright did, we want

Our mission is simple...

to advance the way we build and live, and have a positive impact on the world. We won’t be satisfied until we do that,” said Graff.

“We relieve the stress of leaving your home vacant for extended periods of time.”

franklloydwright.org Diane Mitchell - Owner

www.HomeWatchAZ.com

R e f e r e n c e s

A v a i l a b l e

•

B o n d e d apri l 2018

I n s u r e d

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There’s so much to explore in Cave Creek! This month’s calendar is full of fantastic fun with a cultural flair. Celebrations and exhibits from Spain, Italy and the true West are among the many things to see and do. While you’re here, check out our awardwinning restaurants and one-of-a-kind shops. Whether you join us for a day or a decade, experience the best of the Southwest in Cave Creek!

España in Arizona

Each month, Cartwright’s Modern Cuisine presents their Chef Collaboration Series, and this month is especially delicious. “A Taste of The Mediterranean: A Night in Spain” promises to excite the tastebuds with fare of the Spanish seaside. Guest chef German Sega of Chico Malo has spent his life tempting others to appreciate cuisines from around the world. WHEN: April 25, 6:30 p.m. WHERE: Cartwright’s Modern Cuisine, 6710 E. Cave Creek Rd., Cave Creek. COST: See website for cost details and to make reservations. 480-488-8031; cartwrightsmoderncuisine.com

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Sweet 16, Big Bronco Style

Locals know where to find their favorite Southwest furniture, home decor and gifts! Big Bronco, one of the town's favorite shops, is celebrating its 16th birthday with live music, food, drinks and a special sale on their Western and Southwestern digs. Ten percent of all sale proceeds benefit Triple R Horse Rescue and Arizona Equine Rescue Organization. WHEN: April 30, 5–8 p.m. WHERE: Big Bronco, 6602 E. Cave Creek Rd., Cave Creek COST: Free bigbroncocavecreek.com

History through the Lens of Edward S. Curtis

A private collection of work from one of the most revered photographers in history, Edward S. Curtis, is on display at the Cave Creek Museum for a limited time. This exhibit marks the first time this collection has been displayed in any Phoenix-area venue. Curtis, whose work is now recognized as one of the most significant records of Native culture ever produced, spent his life documenting native cultures that were rapidly vanishing from the face of America in the 19th century. WHEN: Through May 31; see website for hours. WHERE: Cave Creek Museum, 6140 E. Skyline Drive, Cave Creek. COST: Admission $7 for adults; $5 for seniors and students; children under 5 are free. 480-488-2764; cavecreekmuseum.org

Contact Tatum Williams at 480-280-9490 or tatum@imagesaz.com to talk about joining our Images Arizona Cave Creek destination pages.

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Long before cowboys and pioneers, Native Americans were the epitome of the spirit of the West. They first learned to cultivate crops from the dry, brittle desert floor, and it was their ways that allowed pioneers, miners and cowboys to survive in the rugged Southwest.

Writer Amanda Christmann Photography by Scott Baxter and Joanna Proffitt

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Scott Baxter

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Scott Baxter

Scott Baxter Many Native American tribes were all but wiped out by the destruction of westward expansion and manifest destiny, but today many of the beautiful traditions are undergoing a revival of sorts. Photographers like Scott Baxter and Joanna Proffitt are helping to preserve these ways of life by capturing emotion and images and sharing them with a wider audience.

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Scott Baxter

I was born in Hartford, Connecticut. I grew up near Princeton, New Jersey, and I moved to Phoenix in 1982. I currently live in Carefree.

Scott Baxter

I have been a professional photographer since 1986. I was teaching school and one of my ninth grade English students taught me how to process black and white film. I decided then that I wanted to become a photographer instead of going to law school. I am inspired to photograph Native Americans because of their reverence for our world. Photography is very subjective. I have always thought that you can tell a lot about a person by viewing their photographs. It's really pretty simple; I try really hard to make my photographs straightforward, simple and honest. scottbaxterphotographer.com

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Joanna Proffitt

Scott Baxter Baxter and Proffitt share strikingly different perspectives, but their message is the same: they share a visceral appreciation for Native American traditions and a reverence for the spirituality and connectedness behind them.

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Scott Baxter

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Joanna Proffitt

Joanna Proffitt Each ritual dance and ceremony represents, in one way or another, honor of and gratitude for Mother Earth and all of her creations. These traditions are a beautifully vivid reminder that we all share the gifts and responsibility to protect them, no matter our literal or figurative tribe.

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Joanna Proffitt

I was born in Chicago but I have lived in Arizona most of my life. You might call me a ‘faux-native.’ I grew up in Glendale but have lived in Surprise for many years. I studied photography years ago in college and have been interested in it to some degree ever since. In 2014, I became more active in making photographs again after getting a digital camera. Photography is how I explore our world. I often shoot subjects and then end up researching them afterward because I want to learn more. I normally don’t photograph people. I like to joke that I don’t have the patience for it. I had never attended a hoop dance event before and went out of curiosity. I didn’t expect to be as captivated as I was. The colors and intricacies of the regalia (don’t call them costumes, I learned that the hard way) and dancing accompanied by live chanting and drumming is truly spectacular. I am already planning to go back again next year. My most memorable moment as a photographer is probably getting accepted into my first juried exhibition in 2015. It is great to be validated by the art community and to have work on display for the public to view. I hope my photography inspires curiosity in people, makes them want to explore this big, wide world we are a part of —and maybe even makes them want to create some art of their own. joannaproffitt.com

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Writer Amanda Christmann Photography by Brandon Tigrett, Loralei Lazurek and Bill Watters

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Left to Right

Wayne Helfand Chad Brandfass

It seems an almost surreal find: polished and honed, a

Behind the magic is owner Wayne Helfand, whose

sizeable specimen of fossilized stromatolite stands on

enthusiasm for earth art began over 40 years ago. Helfand

display, its telltale waves and swirls evident to the trained

envisioned the creation of one of the largest (if not the

eye. Somewhere around 3.5 billion years ago, give or take

largest) natural art home décor stores in the U.S., making

a few hundred million years, the very cyanobacteria inside

rare gems and minerals available to everyone, from new

(a precursor to today’s algae) were busy converting Earth’s

rock hounds to the most discerning of collectors.

uninhabitable atmospheric gases into oxygen. Without them, none of us would be alive today.

Each year, he travels to dozens of shows and locations to procure the best of the best specimens, often envisioning

Yet this stromatolite isn’t on display at a museum, or even

practical uses, like jewelry or tables, and other times seeing

in a private collection. It’s one of tens of thousands of

the artistic beauty in matched pairings of stones, such as

pieces of home décor, jewelry, landscape pieces and more

the brilliant butterfly-like duos of amethyst in the store’s

created by Nature herself, available for sale at Rare Earth

showroom.

Gallery in Cave Creek. Azurite, turquoise, malachite, onyx—if the Earth has Rare Earth Gallery is a treasure trove of rare gems and

created it, there’s a good chance that Rare Earth has turned

minerals, luring collectors and buyers from across the

it into something stunning.

world who want something special to add to their personal collections. The fact that it’s located in Cave Creek is

Helfand and business partner Chad Brandfass enjoy finding

almost as fantastic as turning a corner in the store to find

opportunities to flex their creative muscles when it comes

one’s self face-to-face with ancient stromatolite.

to showcasing the beauty of their finds.

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Breathtaking Amethyst Treasure Chestâ&#x20AC;&#x201C;Hand-Polished Agate Exterior with Natural Calcite Crystal 25"l x 12"w x 8"h

Creamy swirls of onyx, lit from inside, glow with warmth. The gentle tones of rose quartz bring calming elegance to a room when transformed into a tabletop. Petrified wood becomes a lively conversation piece when it is shaped into a rustic outdoor bench. There is more than the eye can take in within the span of an hour or two. Recently, the store began carrying gemscapesâ&#x20AC;&#x201D;beautifully inlaid, backlit gem and metal artwork that brings an almost three-dimensional element to wall art. Brandfass takes pride in conceptualizing many of the Chihuly-inspired blown glass works, and the space is rife with bowls and vases carved from colorful, breathtaking stone.

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Incredibly Unique Banded Agate Angel Wings with Multi-colors and Druze Center on Custom Metal Stand 29"w x 24"h x 10"d

Just as in nature, no two pieces are alike. Like all good collections, it takes a keen eye to discern what is, and is not, a treasure worthy of Rare Earth Gallery. That’s where Helfand’s expertise comes into play. “I started mining opals in Australia at 19 years old,” he explained. “It fascinated me—the mesmerizing things that came out of Mother Earth. “I kept my first huge geode in a crate in my garage for 10 years. Any time company came over, I’d take them into the garage and lift up the lid for them. Eventually I figured out that I could do something better with it.”

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Stunning Locally Hand-Crafted Azurite & Malachite Bracelet and Pendant from AZ's Morenci Mine: Encased by Semi-Precious Gemstones

Exotic Pink and Green Tourmaline Necklace Accented with Faceted Quartz 37 Cases of Stunning Jewlery in a Wide Variety of Price Ranges and Designs

Striking Geode Pendant with Natural Black Druze Center paired with Black Rutile Quartz & Smoky Quartz set in 925 Sterling Silver

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Out of necessity comes invention; and so the idea of building artful, functional steel displays came to be. Today, many of the large cut gems and stones, from jade to jasper and everything in between are displayed on custom metal stands. Like any rock hound, the biggest challenge Helfand faces is procuring pieces once he finds them. Fine earth art is in high demand, and any time there is a gem show, there is a race to claim the best pieces. Judging by the showroom at Rare Earth, Helfand and Brandfass have honed the process. Another challenge is transporting large pieces from quarries and other sites across the globe. More often than not, beautiful pieces are found in the most remote of locations. Gem boulders have been slid across the earth on banana leaves and rolled down muddy embankments by teams of villagers to get them to awaiting trucks. The process of getting them onto the trucks and to Cave Creek is often another test in ingenuity. The results are impressive. Like so much of Rare Earth Galleryâ&#x20AC;&#x2122;s selections, home dĂŠcor choices range from contemporary to rustic, with something for everyone to connect with. Rare Earth Gallery is in a transition stage for now, occupying a temporary white tent at the corner of School House and Cave Creek Roads while a new, nearly 9,000-square-foot gallery is built across the street. The growing pains are frustrating for Helfand and Brandfass, but one look inside the new location is enough to reassure locals that something incredible is about to happen. The new building, set to open in fall 2018, features a sleek new showroom and carefully planned outdoor spaces that show off many of the landscaping art pieces available at the gallery.

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Spectacular Genuine Arizona Petrified Wood Slice featured as End Table 24" x 24" x 1" thick, 20" high

Originally Rare Earth occupied space a few doors down,

said, ‘What is that thing doing here? Nobody’s ever going

but Helfand’s vision came to fruition much sooner than

to buy that.’ But they did! In fact, that piece got moved to

expected.

a museum in Brussels.”

“When we first opened, we hoisted a five-and-a-half ton

Despite what people believe and don’t believe about energy

carved quartz crystal outside next to the building. People

and vibrations of crystals and minerals, Helfand was not

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expecting some of the emotional responses people have when they enter the store. “A lot of people have no idea what’s inside these walls,” Helfand said as his eyes passed over his impressive sampling of earthen riches. “Sometimes people come in here and are moved to tears. No one is expecting a chronological geographical evolution of the Earth inside these walls, but that’s what we have here. Being able to see it, feel it and touch it can be a very moving experience.” Like the stromatolite, everything has a story. Amethyst tubes, many tall enough to gaze up at, are formed from the pressure inside of ancient lava tubes. Tree-like petrified wood pieces are the result of minerals settling into the spaces left by decaying prehistoric trees. For every piece Helfand passes, he can share a story about where it came from, how it was formed, or how he found it. For him, and for the constant parade of customers coming in the door, Rare Earth is more than a home decorations store; it’s living history. “This place and the life we have here is surprisingly fulfilling beyond my wildest dreams,” Helfand said. “I don’t care if people buy anything, so long as they enjoy it. I get to introduce people to a whole new world of beauty that’s not manufactured or produced in a factory. For most people, it’s a world they didn’t even know existed. “Whether it comes from the bottom of the sea or an ancient lake bed in Wyoming, we give people the opportunity to look, learn and appreciate Earth’s magnificence. It’s something that’s not to be taken for granted.” rareearthgallerycc.com

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Writer Shannon Severson Photography by Scott Baxter

Artist, printmaker, storyteller, furniture-maker, husband and father of two. Brent Bond occupies a world of creativity and collaboration. As the founder of Santo Press located at the Cattle Track Arts Compound, his passion for printmaking and image publishing has presented him with the opportunity to work with both local and internationally acclaimed artists. Owning his own business has also allowed him precious time with his family, particularly when his youngest son, Nico, experienced a life-threatening health crisis. “I’ve been blessed often,” says Bond. “I’ve been in the right place at the right time, and have connected with the right people. I don’t take anything for granted.” At Nico’s one-year check-up, doctors discovered he had an extremely low blood platelet count and immediately admitted him to Phoenix Children’s Hospital. After a year of weekly platelet infusions, it was determined that Nico had leukemia. Over the next few years, Nico underwent two separate bone marrow transplants and countless chemotherapy treatments. Bond and his wife Verónica rearranged their lives and schedules, sleeping at the hospital and trading

shifts — balancing work, parenting their older son Dante, and managing medical paperwork. Neighbors brought them daily meals and offered help however they could. It was a devastatingly difficult time, but one that bonded them to their community. When he hosted a “Prints for Platelets” fundraiser at Cattle Track, friends and mere acquaintances came out of the woodwork to help. Cattle Track artist and friend, Mark McDowell recruited his buddy Nils Lofgren of E Street Band fame, and a ragtag group of friends to perform an impromptu gig in the hallway. Without request, artists donated pieces to be sold and Santo Press prints were offered at half price. In one day, $20,000 was raised for Nico’s care. Nico eventually made a full recovery and is now 7 years old. With guidance from his parents, he raises funds for PCH and various cancer charities, selling his own art and creating his own popsicle business, “Nico’s Amazicles,” and donating half of all profits to PCH. Each birthday he donates most of his toys to the hospital and has now joined the community of helpers who saw him and his family through those dark days.

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“The experience completely restored my faith in humanity,” says Bond. “It had a great effect on me and on my life perspective. I wouldn’t want anyone else to go through it, but it’s a total shift in your priority scale. Life isn’t about things; it’s about people.” Founded in 2009, Santo Press has allowed him to continue to make time for family. Its name and logo — a luchador sporting a halo—is derived from Verónica’s 70-year family history in the Mexican film industry. When he’s not working on contract, Bond has continued to create his own art, which tends to tell a story with elements that often include digital photography, vintage photos he’s collected (he admits to a mild addiction), hand drawing, 3D objects and laser engraving. He creates themes of mythology and twists on common subject matter in art throughout history, all combined and manipulated with new eyes. “I’m not solely autobiographical in my work,” says Bond. “My family works its way into my artwork from time to time. My sons and wife have each done photography-based pieces with me. I also use conceptual ingredients in the public realm that are digitally reproduced, manipulated and combined with print elements. I collaborate with print clients all the time, but even in my own work, I’m collaborative. I’m always assembling pieces to make a whole.” The perspective that comes from being both an artist and printmaker is a big part of why he is trusted by so many artists. He couldn’t produce as much as he does without “Victoria,” a 1961 Vandercook Universal I printing press, which became his in a most unusual way. While working as a master printer and studio manager for Joe Segura’s renowned Segura Publishing Company, then located in Tempe, Bond was fortunate enough to work with legendary light and space artist, James Turrell, who has spent years transforming the Roden Crater into a massive work of art meant to heighten the viewer’s sense of heaven and earth. Victoria was stored in an old, dilapidated barn that was chockfull of every kind of press imaginable. Turrell intended to move the presses he needed into a large garage to create a print studio. “It was a surreal experience,” says Bond. “Here’s James Turrell driving a tractor with a scoop loader and some fork lifts rigged to it, and we’re taking this huge Vandercook from the barn to the print studio. I helped him with this project for a week and he ended up offering me one of several Vandercook presses he had. I let Joe know that he didn’t need to pay me that week. James had done it with that press.”

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Life isnâ&#x20AC;&#x2122;t about things; itâ&#x20AC;&#x2122;s about people. 62

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For two years and four months, Bond completely restored the press. Its scale, speed and ease of use were a complete departure from the larger-scale projects that required rollers to be hand-inked. Going from 10 prints an hour to 80 completely changed the way he worked and how he would reconcile his dual careers as a printer and an artist. “It changed by idea about art in general,” says Bond, “but it also shifted how I see my role from a more broad perspective. I’m still an artist who dreams of being in the big time, but there’s something both humbling and liberating about acknowledging and accepting what rung you’re on in the hierarchy of artists. “I’m very highly regarded for what I do as a master printer and publisher; I’ve had over 200 shows in three different countries, my work is in multiple museums … Ultimately, I’ve been able to live off of being an artist.” Many of the artists he works with, whether they are painters, photographers or sculptors, have never made prints. Bond takes their vision and helps them see it through the eyes of his medium, finding their voice and how it will speak through print. His job as a print publisher is to get “mileage out of the matrix.” Once a linoleum block, called a linocut, is carved so that multiple colors can be printed, it can never again be used for another print. Once the original concept has been produced, Bond plays with pattern and color possibilities. Sometimes he can get as many as three variations by adding or removing colors. Artists such as James Angel, Janet Towbin and Roy Wasson Valle are among those who like his ideas so much that they produce pieces as collaborations co-signed by Bond. “Printmaking is an ongoing problem-solving adventure,” says Bond. “I’ve developed special connections and friendships with incredible artists. I’m lucky enough that my own art is included in two local invitationals each year: The Chaos Theory Show and 5-15 Invitational. I only show locally. I do whatever it takes to remain an artist and be self-employed, and I’ve met so many remarkable people because of it.” Bond’s art can next be seen in the Docents Select exhibition at Mesa Contemporary Arts Museum January 20 through April 8. santopress.com

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Fresh Fruit Tart This recipe has been in my family for years. It’s the perfect dessert to welcome springtime! Chef’s tip: cold butter helps create air pockets in the pastry, leaving you with a flaky crust. The glaze is optional, although recommended!

Prep time: 30 minutes Cook time: 15 minutes Ingredients: Crust 1/2 cup powdered sugar 1-1/2 cups flour 1-1/2 sticks butter Filling 2 packages cream cheese 1 cup sugar 2 teaspoons vanilla Glaze 1 teaspoon cornstarch 1/4 cup lime juice 1/4 cup sugar Fruit of choice for topping Directions: Add crust ingredients into a food processor and blend until it forms a cohesive ball. Make sure your butter is very cold, as you want the dough to be firm and not sticky. Press into a 10–12-inch tart pan. Bake at 350 degrees for 12 to 15 minutes, or until lightly browned. While baking, combine filling ingredients. For glaze, blend all ingredients in saucepan over medium heat until a clear, thick liquid forms, about 2 minutes. Set glaze aside and let cool. Once tart shell has cooled, spread filling evenly onto the crust. Place your cut up fruit of choice onto cream cheese filling and make it look pretty! Paint your glaze gently over fruit, and serve. kyndraclaire.com

Writer iand Kelly m a gPhotographer e s a r i z o n a . cKyndra o m apr il 2 018

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Writer and Photographer Kyndra Kelly

Healthy, light and delicious, salmon cakes are easily prepared with ingredients you may already have on hand! Great served over a salad, or just by themselves. Feel free to change up the herbs or veggies according to your taste! Use my “secret” sauce or your favorite storebought aioli.

Salmon Cakes Prep time: 20 minutes. Cook time: 10 minutes. Ingredients: 1/2 sweet potato, cooked, mashed 1 (14.75 oz) can salmon 2 tablespoons chopped cilantro or parsley 2 tablespoons finely diced celery 2 tablespoons finely diced red pepper 1/4 cup almond flour 2 tablespoons finely chopped red onion 2 tablespoons avocado oil mayonnaise 1 tablespoon lemon juice 1/2 teaspoon salt 1/4 teaspoon pepper 1 egg “Secret” Sauce: 1/2 cup mayo sriracha, to taste 1/2 a lime salt and pepper, to taste Directions: Remove skin and bones from canned salmon and crumble into a large bowl. Add all ingredients and mix until combined. Heat a skillet with oil (I used coconut oil). Using a 1/4 cup measure, scoop some mixture out and form into a patty. Place in pan and let sizzle until desired brownness. When flipping, be careful not to break apart your patties as they can be fragile. Use a plastic ziplock bag to drizzle the sauce, and make them look pretty! kyndraclaire.com

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B o n n e r D a v i d Galleries Traditional x Contemporary

Andrew Burgess

“Butterfly House” / oil on canvas, 2017 / 24" x 36"

Brad Howe “Tumbes” 2017 stainless steel, aluminum and urethane / 29" x 40" x 12"

7040 E. Main Street x Scottsdale, AZ 85251 x www.bonnerdavid.com x art@bonnerdavid.com x 4 8 0 . 9 4 1 . 8 5 0 0

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