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Constitutional Convention 1910, Santa Fe, NM Simon Vorenberg, Alan’s grandfather, named the town of Cleveland, NM, established a US Post Office there in 1892, and was the first postmaster. He later opened The Vorenberg Mercantile Company in Wagon Mound, NM and was a delegate from Mora County to the Constitutional Convention in Santa Fe in 1910 as the Territory of New Mexico was becoming a U.S. State. Alan's father, Morris, started Vorenberg's Menswear in Carlsbad in the 1940's and later spent his professional career as a stock broker in New Mexico. Anne and Alan have been a broker team at Sotheby’s International Realty since 1999.

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118 84

feat u re s 84 cara romero

Tapping the Regenerative Power of Art By Gussie Fauntleroy

104 art house A Placitas couple crafts a modern live/work space with roots in the region’s counterculture By Rena Distasio | Photos by Kate Russell Santa Fe artist James Drake explores the complexities, challenges, and contradictions of the human condition By Nancy Zimmerman | Photos by Peter Ogilvie

148 something new under the sun Can 3D printing save the world? A growing number of architects and builders are betting on it By Nancy Zimmerman

162 renewed, at home The upheavals of the past two years are giving rise to fresh trends in interior design By Gussie Fauntleroy | Photos by Robert Reck

TREND art + design + culture 2022

104

CLOCKWISE: PETER OGILVIE; CARA ROMERO; KATE RUSSELL

118 making his mark

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SEASON OF BLUE 2022 PRESENTING EXHIBITIONS IN ART & JEWELRY

depar tments

185

A new bookstore makes the Santa Fe Railyard more of a trip By Andrew Wice | Photos by Peter Ogilvie

44 art business Cultural Continuity Santa Fe gallerist Andrea Fisher’s business model serves her artists and her community By Nancy Zimmerman | Photos by Peter Ogilvie

66 art matters Advancing by Degrees IAIA launches Native graduates into positions of influence By Christina Procter

131 artist studio Nature Versus Human Nature Painter Mark Spencer examines the human condition and explores the potential for transformation By Gussie Fauntleroy | Photos by Peter Ogilvie

138 artist studio Earthen Inspiration Ceramic artist Jarrett West celebrates both the strength and fragility of nature By Anya Sebastian

179 tunes Sound at Heart A Santa Fe couple works to ensure the city remains a vital live music destination By Janna Lopez | Photos by Daniel Quat

185 passion of the palate 187 raising the bar The art and craft of cocktail culture By Cyndy Tanner | Photos by Kate Russell

193 new frontiers Three chefs rev Santa Fe’s culinary engine By Esther Tseng | Photos by Kate Russell 34

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131

CLOCKWISE: KATE RUSSELL; PETER OGILVIE; COURTESY OF ANDREA FISHER POTTERY; COURTESY OF MARK SPENCER

37 About the Issue 38 Contributors 40 book matters Beastly Books

Euro-Asian Modernist

We Dress Your Life 101 W. Marcy Street, #2 Downtown Santa Fe tokosantafe@gmail.com 505-470-4425 tokosantafe.com

PUBLISHER Cynthia Marie Canyon ART DIRECTOR Janine Lehmann COPY CHIEF Cyndi Wood CONTRIBUTING EDITOR Christina Procter PRODUCTION MANAGER & ASSOCIATE DESIGNER Jeanne Lambert CREATIVE CONSULTANT & MARKETING DIRECTOR Cyndy Tanner PHOTO PRODUCTION Boncratious DESIGN ASSISTANT Carrie McCarthy CONTRIBUTING WRITERS Rena Distasio, Gussie Fauntleroy, Janna Lopez, Christina Procter, Anya Sebastian, Cyndy Tanner, Esther Tseng, Andrew Wice, Nancy Zimmerman CONTRIBUTING PHOTOGRAPHERS Audrey Derrell, Amadeus Leitner, Mona Mäkelä, Peter Ogilvie, Jason Ordaz, Daniel Quat, Robert Reck, Cara Romero, Kate Russell REGIONAL SALES DIRECTOR Mara Leader, 505-470-6442 ACCOUNT REPRESENTATIVE Anya Sebastian, 505-470-6442 NORTH AMERICAN DISTRIBUTION Disticor Magazine Distribution Services, disticor.com NEW MEXICO DISTRIBUTION Ezra Leyba, 505-690-7791 ACCOUNTING AND SUBSCRIPTIONS Patricia Moore SOCIAL MEDIA MARKETING & PUBLIC RELATIONS Janna Lopez PRINTING Journal Graphics Portland, Oregon, United States Printer Representative Lisa Bunch Pacific Print Source Inc. 16077 NW Rock Creek Rd. Portland, OR 97231 (503) 720-1785 Manufactured in the United States Copyright 2022 by Santa Fe Trend LLC All rights reserved. No part of Trend may be reproduced in any form without prior written consent from the publisher. For reprint information, please call 505-470-6442 or email santafetrend@gmail.com. Trend art+design+culture ISSN 2161-4229 is published online throughout the year and in print annually (20,000 copies), distributed throughout New Mexico and the nation To subscribe, please visit trendmagazine-global.com/subscribe-renew OR Send a check to PO Box 1951 Santa Fe NM 87504 for $19.99 per printed copy including priority shipping USA only. Find us on Facebook at Trend art+design+culture magazine and Instagram @santafetrend We’re seeking new and diverse voices! If you’re a writer or photographer interested in contributing, please visit trendmagazineglobal.com/contribute and send your story pitches to santafetrend@gmail.com. Trend, P.O. Box 1951, Santa Fe, NM 87504-1951 505-470-6442, trendmagazineglobal.com 36

TREND art + design + culture 2022

ABOUT THIS ISSUE

t all levels and in myriad ways, our collective sense of well-being has been shattered in recent years, and no amount of “fake it ’til you make it” can restore it. But there’s a subtle shift happening in our lives these days, one that might seem insignificant at the moment but which has the potential to transform our world. Amid the constant political noise and all-encompassing dread that seem to rule our day-to-day existence, a new kind of honesty is emerging as we stop pretending everything is fine and start expressing our true feelings in surprisingly constructive ways, from conversations with our loved ones to workplace revolts to activism. The shift is especially apparent in the arts, a field where expressing one’s truth has always been a powerful means of influencing the prevailing zeitgeist. From painting to poetry, practitioners of the arts have a unique platform for exciting the imagination, commenting on current events, and revealing the less-explored aspects of the human condition. The most powerful works of art are those that enable us to see reality more clearly, from fresh perspectives. This issue of Trend highlights a number of artists who express their inner truths in provocative ways. Photographer Cara Romero presents the world through an Indigenous lens (page 84) as she explores the intersection of truth and myth. Architect Max Vasher (page 104) draws

from the well of the 1960s and ’70s counterculture to recalibrate the relationship between built and natural environments for the present day. Similarly, contributor Nancy Zimmerman offers an in-depth look at the potential for 3D printing to transform the way we house people around the world (page 148). The grand-scale drawings of James Drake (page 118) ask pointed questions about the state of humanity while celebrating the people, both extraordinary and ordinary, whose lives and work have had a lasting influence on present-day realities. Other profiles in this issue focus on a sculptor of monolithic ceramics (page 138), two tireless champions of Santa Fe’s live music scene (page 179), and gallery owner Andrea Fisher’s openhearted approach to the business side of art (page 44). On page 66 we learn of the inauguration of the Institute of American Indian Arts’ first-ever master’s program, which will train graduates to lead art and cultural institutions with a focus on and respect for Indigenous people. The exceptional creativity showcased in our pages represents the art world’s positive and powerful response to the chaos that has engulfed us; these artists’ fearless pursuit of the truth, however unsettling, helps to counter the chaos of our time with their underlying messages of resilience and optimism. As we all grow more comfortable with speaking our truths, the artists of the world are leading the way.

ABOUT THE COVER: Havasu, a photograph by Cara Romero trendmagazineglobal.com

Kate Russell n Mona Mäkelä n Esther Tseng

Clockwise: Christina Procter n Robert Reck n Gussie Fauntleroy n Janna Lopez

TREND art + design + culture 2022

TOP, FROM LEFT: KATE RUSSELL; MONA MÄKELÄ; CLAIRE BRUECKNER; BOTTOM, CLOCKWISE FROM LEFT: RUSSELL MOLINE; BRAD HOWELL; LORI NAGEL; JANNA LOPEZ

CONTRIBUTORS

Anya Sebastian n Peter Ogilvie n Rena Distasio

Rena Distasio has worked as a freelance writer and editor for over 20 years. When not helping others tell their stories, she pursues assignments covering architecture, home design, and the domestic arts from her home in Oklahoma City.

FROM LEFT: AMANDA ODA; PETER OGILVIE; LINDA CARFAGNO

Peter Ogilvie has traveled the world on photography assignments and has won numerous graphic and advertising awards for his work. Raised in Southern California, he studied art and architecture at University of California at Berkeley. He went on to documentary filmmaking, which led to his enduring passion for the still image. Gussie Fauntleroy has written about art, design, and architecture for over 30 years. Based in southern Colorado, she contributes regularly to national and regional magazines and is the author of four books on visual artists. She enjoys chasing the element of surprise in her stories. Janna Lopez is an intuitive book coach, creative writing teacher, and author. She leads creative writing retreats for individuals and small groups in Santa Fe through Land of Enchantment Writing. Mona Mäkelä was born in Helsinki, Finland, and is now based in Santa Fe. She provides commercial architectural photography services in Northern New Mexico and nationwide. Mona’s work has been published in RL Magazine by Ralph Lauren, Alaska Airlines Magazine, The Independent, USA Today, PBS Nova, ABC News in Science, New Mexico Magazine, and many other publications. Christina Procter is a Santa Fe–based writer and editor who recently completed a master’s in social work at New

Mexico Highlands University. She is invested in helping individuals, families, and communities share their stories. Robert Reck’s photography is distinguished by a masterful use of light, strong composition, and a passion for design. Reck was a staff photographer for Architectural Digest and has contributed to dozens of publications globally. He was the lead photographer for Santa Fe Style, published by Rizzoli International, and he photographed Facing Southwest, which received a Santa Fe Preservation Award. Kate Russell is a Santa Fe–based photographer who strives to show her subjects with simplicity, respect, and curiosity while always working to elevate the unexpected. She has covered action, architecture, art, circus, fashion, food, friends, life, and travel. Her work has been featured in Artforum, High Fructose Magazine, New Mexico Magazine, Rolling Stone, The New York Times, The Wall Street Journal, and many others. Anya Sebastian started out as a BBC reporter in London before becoming a freelance writer. British by birth, she has contributed to online and print publications on both sides of the Atlantic, including Vanity Fair, The Sunday Times, Broadway World, edible New Mexico, and New Mexico Magazine. Based in Santa Fe, she is also a published author, a voice-over artist, an awardwinning radio show host, and a keen art collector. She is currently working on her first piece of fiction. Esther Tseng is a freelance food, drink, and culture writer based in Los Angeles, California. She has contributed to The New York Times, Los Angeles Times, Bon Appétit, Food & Wine, and more. R trendmagazineglobal.com

BOOK MATTERS

BY ANDREW WICE | PHOTOS BY PETER OGILVIE

BEASTLY Books

A new bookstore makes the Santa Fe Railyard more of a trip

mily Dickinson wrote, “There is no frigate like a book / to take you lands away,” which remains true, despite our modern buffet of escapist media. Far from the digital onslaught of daily life, local independent bookstores remain the best way to discover the perfect tome. Dodging the extinction threatened by chain stores, online retailers, and pandemic shutdowns, each of Santa Fe’s independent bookstores

TREND art + design + culture 2022

is a distinct world to visit, and the newest is also the most unusual. Beastly Books is fantasy-literature giant George R. R. Martin’s latest contribution to the Santa Fe Railyard. The sunlit corner shop specializes in science fiction, fantasy, and collectible, autographed tomes of speculative fiction—along with impressive displays of literary and cinematic memorabilia. Sipping a frothy cappuccino from the coffee bar, one can marvel at an original

spacesuit from the groundbreaking 1956 science fiction classic Forbidden Planet or a pair of creature costumes from the Beauty and the Beast TV series, for which Martin was a writer. Manager Twig Delujé knows that the experience of in-person shopping is what makes Beastly Books indispensable for browsers and collectors. “Purchasing a book online is instantaneous, and maybe feels slightly disposable,” he says. “Here

people go to a location, look through the shelves, interact with people recommending titles, and connect with other readers in the shop. It becomes very experiential.” Beastly Books has a special connection with its neighbor, the Jean Cocteau Cinema, also lovingly restored by Martin and open since 2013. Having a theater space at its disposal, coupled with

Over 40 Years Of Hand Made

A fan rendering of George R. R. Martin and some of his favorite “characters.” Opposite: The interior of Martin’s Beastly Books, which the author opened in 2019.

Martin’s name recognition, Beastly draws world-class fantasy and sci-fi authors for appearances. “With author events,” Delujé explains, “our goal is to have a reading or interview at the theater, and then folks come back to the shop afterwards and have a chance to meet the author and get their material signed.” With author events ramping up this year, Delujé says, “We want to connect the art community, the writing community, and readership. We want to be a community space, a place for everybody to feel comfortable.” The Jean Cocteau Cinema is a beloved Art Deco jewel capable of drawing big crowds, and Beastly Books is one of many new locales in the Railyard. Yet no matter how fast the world rumbles down its tracks, books will always be the best place to begin an unexpected journey. R trendmagazineglobal.com

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ANGUS

An Expansive Moment, acrylic, 40” x 72”, 2022

ver the course of the last two decades, Angus Wilson, who goes by Angus professionally, has built a career in fine art, earning kudos for his innovative approach to still life painting. Originally from Aberdeen, Scotland, Angus did not initially intend

to become a fine art painter. After stints in graphic design, video production, and computer graphics, he worked with a British pioneer in arcade video games and then later in computer games and virtual reality for several Silicon Valley companies. A growing interest in French Fauvism and Scottish realist painters changed the course of his life. Inspired by the bold colors of the Fauvists and the technical mastery of the Scots, he began to push the boundaries of what constitutes a traditional still life painting. An early innovation was his use of refraction lines to subtly break up a composition. Each year’s new body of work reveals his ever-expanding interest in the possibilities of the genre, defined by exploding forms of color punctuating chromatically rich backgrounds—still life paintings in which nothing is actually at rest.

ventanafineart.com 42

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| 400 Canyon Rd, Santa Fe, NM 87501 | 505-983-8815

VENTANA FINE ART

Clockwise from top left: Hydrangea with Oranges Over Violets, acrylic, 30” x 30”, 2022 Blue Iris in Tall Arrangement, acrylic, 36” x 18”,2022 Orange Tulips on Green, acrylic, 36” x 36”,2022

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ART BUSINESS

BY NANCY ZIMMERMAN | PHOTOS BY PETER OGILVIE

CULTURAL CONTINUITY SANTA FE GALLERIST ANDREA FISHER’S

business model serves her artists and her community

ven in the best of times, running a successful gallery is a tough job. With everything from the weather to the economy to the prevailing zeitgeist affecting profit margins and buying patterns, it’s always a challenge to get it right. Throw a stubborn pandemic and political turmoil into the mix, and you might get chaos . . . or, in the case of Andrea Fisher Fine Pottery in downtown Santa Fe, you might get inspiration. Fisher has transformed her love of Native Southwest pottery into a thriving business by focusing on the well-being and success of her artists rather than solely on the bottom line, and in the process has become one of the preeminent sources for Native Southwest pottery in the country. If there is such a thing as preordained destiny, Fisher committed to hers early in life when, as a 10-year-old growing up in Pennsylvania, she began crafting ceramic figures of dogs to entertain herself and exercise her creative muscle. At the time, of course, she had no idea that her affinity for the medium of clay would eventually become her livelihood, nor that it would morph from affinity to specialty. All that would come later. After decamping to the West Coast in the late 1960s to study design at UC Berkeley, in 1974 she headed to New Mexico, first to Los Alamos and later the Pojoaque Valley, where she settled into and restored an ancient adobe home (circa AD1350) as she launched her post-divorce life. “I’ve always loved pottery,” Fisher says, “and I played around with it quite a bit, but I doubted I could make a living at it. So I looked for other ways to be involved. I heard from a friend that the Wheelwright Museum needed board members, and it seemed like a good way to connect with the Native art forms, so I applied. Around the same time I also heard that the buyer at the

TREND art + design + culture 2022

Case Trading Post in Santa Fe was retiring, so I decided to apply for the job.” She got both positions, and thus marked the beginning of her in-depth education in Native art forms. Fisher remained with the Case Trading Post for eight years and, entranced by the timelessness and sophistication of the designs of the pottery in particular, she immersed herself in the medium and learned as much as she could about the materials and methods employed by the many artists she was meeting in the course of her job. Fisher’s fascination was well placed. Pueblo pottery has enjoyed a unique status in Native life through countless generations. More than mere utilitarian receptacles used for storage and cooking, the ceramic vessels for centuries have functioned as chronicles of daily life as well. The symbolic designs carved into their surfaces represent wind, rain, feathers, geographic features,

The expansive gallery space was recently revamped to facilitate browsing. Bottom: Andrea’s son, Derek Fisher, is a partner in the gallery. Opposite: Andrea Fisher displays a pot made by Acoma artist Rebecca Lucario.

and other aspects of day-to-day existence that reflect the environment and resources informing the Native experience; contemporary potters incorporate the ancient symbols into new designs that speak to current conditions and challenges. Long before there was a written language, pottery thus served as a kind of official record of events and conditions, fulfilling quotidian needs as well as ceremonial and aesthetic ones. The ancient methods of collecting the clay and dye plants, hand-shaping the pots, and firing them in the open air have been handed down through the ages, such that contemporary potters share a direct link with their ancestors that imbues the act of making and using pottery with spirituality and connection. Fisher’s deep respect and appreciation for the beauty and cultural significance of Native pottery led her to launch Andrea Fisher Fine Pottery in 1993. “I didn’t want to include drums, jewelry, or textiles,” she says. “I just wanted to concentrate on the pottery, and only the kind produced trendmagazineglobal.com

ART BUSINESS

using traditional methods and materials, which underscores the continuity of the culture and way of life.” Fisher’s initial inventory consisted of pots from her own extensive personal collection, but it has grown exponentially over the years and now includes works by more than 500 artists. “In the beginning, I had to seek out the artists who do quality work, by which I mean pleasing shapes, a flair for design, beautiful coloration, and fidelity to the culture,” she says. “After 29 years in business, they now seek me out, so I see a large variety of work.” She’s particularly gratified that many of her artists will bring in vessels made by their grandchildren or other young potters they know. “We really welcome the kids,” Fisher notes. “I sponsor the Southwest Association of Indian Artists award for kids because those are my future artists.” Fisher’s current inventory includes many of the biggest names in Southwest pottery past and present, among them the legendary Maria Martinez of San Ildefonso Pueblo, whose black-on-black pottery, crafted in collaboration with her husband Julian, helped to renew and reinvigorate traditional pottery. Other notable names include Fannie Nampeyo, Rebecca Lucario, Blue Corn (Crucita Gonzalez Calabaza), Virgil Ortiz, Dextra Quotskuyva, Tony Da, Helen Cordero, and Richard Zane Smith, among hundreds of others. She also champions new talent, carrying the work of young 46

TREND art + design + culture 2022

potters and providing them with an opportunity to hone their craft and sell their wares. While the past couple of years have been unusually challenging for galleries everywhere, Fisher has managed to maintain a thriving business despite the limitations imposed by the pandemic. “I’ve always preferred in-person selling to the internet,” she says, “because a small photo can’t possibly convey the scale and beauty the way seeing the work in person can. Buying art online is not like buying a pair of socks or a lawnmower. But we were closed during the lockdown and our market was basically gone, so we decided to do a few different things.” The first was to revamp the gallery’s website to make it more comprehensive, more attractive, and easier to navigate, as collectors eschewed in-person visits to the gallery in favor of online commerce. She also trimmed the displays at the gallery to create an airier, more curated look that facilitated browsing. A particularly successful initiative was a series of videos Fisher launched in August 2020 to showcase individual artists and offer intimate glimpses of them and their work. Fisher’s son Derek, who is a partner in the gallery, earned himself the nickname of “Derek Scorsese” by helming the project, doing all the directing, filming, and editing himself. “I wanted to provide the artists with the opportunity to sell

This unsigned vessel, circa 1910–20, is from Acoma Pueblo. Compare its symbolic designs with those on the pot held by Fisher on page 44 and you’ll note their echoes in that contemporary pot. Opposite: A pot by Thomas Tenorio of Santo Domingo Pueblo combines a modern aesthetic with traditional symbolism.

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COURTESY OF THE PALACE OF THE GOVERNORS PHOTO ARCHIVES (NMHM/DCA) NEGATIVE NUMBER: HP.2007.20.694

ART BUSINESS

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This group of three pots demonstrates both the evolution and the continuity of the art form. The brownrimmed bowl in front was made in 1960 by Maria Martinez of San Ildefonso Pueblo; the richly patterned black-and-white piece was made in 2020 by Sandra Victorino of Acoma Pueblo; the deeply incised brown vessel was made around 1960 by Teresita Naranjo of Santa Clara Pueblo. Opposite: Julian and Maria Martinez are credited with helping to elevate Native pottery from functional craft to fine art. In this photo (circa 1940) you can see their signature black-on-black pottery among other fine pieces.

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ART BUSINESS

These contemporary pots were produced in the town of Mata Ortiz, Mexico, which is located within the Casas Grandes archaeological site, and their intricate, sophisticated designs were inspired in part by the ceramics exhumed from the region. Note the exquisite details of the checkerboard patterns incorporated into the designs.

their work even with everything in lockdown,” Fisher says. “The films are unscripted and range from five to seven hours in length. Because we didn’t have a script or time limit the subjects could relax a bit, and they spontaneously started telling stories of life on the Pueblos. It was fascinating and so human, so universal in many ways,” says Fisher. The films also covered demonstrations of pottery making, which were live-streamed, and the events were interactive. “We used a split screen, and people would call in or email us if they had questions or wanted to buy a piece,” she explains. “If any pieces were left over, the gallery bought them, so the event would always be successful for the artists. We sent out emails to our clients announcing the events, and word spread. We got around 11,000 viewers.” The 19 videos now live on the gallery’s YouTube channel, where they continue to attract interest. Fisher also looked for opportunities to serve the public along with her artists. “I was so outraged to see long lines at local food 50

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banks,” she says, “so I emailed my clients and promised we would donate 10 percent of sales to the Santa Fe food bank as well as all the rural food banks. The promotion went on for a week and was so successful we extended it for another week. It was a win-win: we sold a lot of pottery, the artists did very well, and the purchasers got some great pottery.” All and all, they provided nearly 30,000 meals. By focusing on the needs of her artists and her community rather than exclusively pursuing profit, Fisher ironically has achieved what all gallerists hope for: financial success and longevity. What started as a business has become a true calling, and Fisher’s expansive approach has allowed Native potters to share in her success as her business has grown. “Their success goes hand-in-hand with my own survival,” she says. “I believe tradition is important, adding continuity to our lives. It’s essential that we keep the Native pottery tradition alive.” R andreafisherpottery.com

ANDEAN ALPACA GIFTS

Garments made by Nu Peru are not only textiles composed of the best alpaca, vicuña and llama fibers, they are also a commitment to creating sustainable processes and products.

187 Paseo de Peralta Santa Fe, NM 87501 (Inside De Vargas Center)

505-470-8284 or 819-9189

nuperu.com

Quintana Optical

SOMERS RANDOLPH’S sculptures are deceptively simple. His vibrant spirals, continuous knots, and woven curves intrigue the eye and challenge the mind. Resonating on a subconscious level, his sensuous, undulating forms awaken something deep inside us. Working with a wide range of stone—including alabaster, marble, travertine, granite, and lapis— Somers’ one-of-a-kind sculptures can be found in many notable collections around the world. “I decided to be a sculptor when I was 15 years old, and, for the last fifty years, my focus has been on refining shapes in stone.” says Somers, “An eight-foot pink marble twist anchors your backyard. A translucent onyx sculpture warms your living room as it glows with the morning sunlight. A small alabaster bowl that graces your dining room table. I had fun creating them and when you take one home, you get to enjoy it for the rest of your life.”

Photo © Wendy McEahern

Photos this page © Wendy McEahern

You are invited to visit Somers’ home gallery and studio, just a mile-and-a-half from the historic Santa Fe Plaza. Personal studio tours are available by appointment. Text him at 505-690-9097 or email sculptr@aol.com to introduce yourself and to check availability.

www.somersrandolph.com

STAN BERNING

View From Galisteo Basin, watercolor/gouache, 18” x 24”, 2021

n outstanding figure in Santa Fe’s art scene for over 40 years, Stan Berning handles paint like a master. Until the pandemic struck, the artist was widely known for his abstractions. Then Berning was driven outdoors, and he says that this “changed everything.” Though the New Mexico terrain has long figured in his nonobjective works, he has since been

drawn to create a new series of plein air watercolors that conjure the sublime narrative of place. Berning is guided by the horizon lines of the land, the unfathomable light of the skies, and the rest of nature’s chiaroscuro amid

seemingly sculpted formations of stone. Often painting outdoors, he has found an intimate connection between abstract and landscape painting, striving to make the transcendent accessible. The artist is pleased to introduce his new body of work to the public. His 18” x 24” watercolors are mounted on archival 24” x 30” paper and present beautifully as finished works, easily transported in custom-made portfolios. Contact him to arrange a private consultation at your home or business, or to visit Berning’s home and studio near the heart of historic Santa Fe.

stanberningstudios.com

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| stan@stanberning.com | Santa Fe, NM | 928-460-2611

The View East to Cerro Bonanza, watercolor/gouache, 18” x 24”, 2021 Autumn Tree Stand / La Mesilla, watercolor/gouache, 18” x 24”, 2021

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September 17-18 & 24-25 10-5pm

turquoisetrailstudiotour.info

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Glen Neff

Near San Francisco Peaks, (Harry Leippe), bronze (top left) Cow Heaven - Montana, (John Hogan), intaglio etching (top right)

Bridge of Ancestors, (Susan Faust), oil on canvas (bottom left) Trees of Ceret #2, (Carol Tippit Woolworth), oil on linen (bottom right)

Hours wed - sun, 11 - 5 Contact gallery for private groups and appointments Located on the Historic Turquoise Trail

505-424-3391 hatranchgallery.org 27 San Marcos Road W, Santa Fe, NM IG and FB @hatranchgallery

Full Moon Rise over Rio Chama, Abiquiu, NM

photo by walter nelson

ABIQUIU MUSEUM WITHOUT WALLS abiquiuguide.org | abiquiustudiotour.org | abiquiunews.com

bosshard Art • Antiques • Furnishings

35 Years of the Best from Around the World and the Southwest A b i q u i u , N M • Up t he Hill • Ne x t t o O ’K e e ffe 1 0 - 5 E v e ry Da y • (5 0 5 ) 6 8 5 -0 0 6 1

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Detail of “Translucere #1” 2022 august@augustmuth.com instagram@augustmuth Detail of “Translucere #1” 2022 august@augustmuth.com instagram@augustmuth Represented by Pie Projects, 924B Shoofly St., Santa fe, NM pieprojects.org Represented by Pie Projects, 924B Shoofly St., Santa fe, NM pieprojects.org

JIM WOODSON

Gallery at Casa Anima | Paintings by Jim Woodson jimwoodsonart.com | jimwoodsonart@gmail.com | 505-929-7489 | studio visits by appointment

Pensamientos arraigados, oil on linen, 36" × 36"

Hebé García

Fine Art Studio Figurative Painting & Ceramic Sculpture 52 Corona Road • Prado Valley Ranch • Abiquiu, NM 87510 By appointment only: 505.690.9888 www.hebegarcia.com

ebé García and her husband visited Abiquiu, NM, for the first time in 2013, and it took just a week for them to fall in love with the town and its surroundings. By 2015 they were ready to move from Puerto Rico to New Mexico. After a long search, they found the perfect spot for their home and García’s artist studio on top of a Mesa with 360 degree views, including Georgia O’Keeffe’s iconic Pedernal. The move has inspired and influenced García’s work — a diverse range of painting, sculpture and installation that explores the intersections of feminism, mythology, and cultural roots. Her clay and oil figurative works often reflect Jungian archetypes and are firmly ensconced in magical realism. Her figures are hauntingly beautiful, mysterious, and sometimes macabre.* She hopes that her work acts as a point of departure, encouraging the viewer to connect, interact, and ultimately create their own narrative. Presently, García is a member of the New Mexico Potters and Clay Artists (NMPCA), the Abiquiu Studio Tour, and the Gentileschi Aegis Group Association (GAGA). Her work is held in collections in Puerto Rico, England, and the USA. *Sylvia Benítez, Director of Gentileschi Aegis Group Association

left: Blue Hat, oil on Ampersand Gessobord, 5" × 5". bottom: No soy la voz, sino el eco, mid-fire red clay, oxide, and glaze, 20 1/2" × 13" × 10 1/2".

Hebé García is represnted by: Photo Credit: Carlos Rossi, 2022.

NEST Shop.Showroom.Studio Abiquiu, NM | 520.289.0656 www.abiquiunest.com

Pamil fine art San Juan, pr | 787.756.6831 www.pamil.com

ART MATTERS

BY CHRISTINA PROCTER

Advancing By Degrees The Institute of American Indian Arts launches graduates into positions of power

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tional rugs on a standing loom and brought him with her to art markets throughout his childhood. Now in his early 20s, Descheny is an artist who is pursuing a career in museum administration, and he says that the family and tribal stories he grew up with are a key part of his work. His own art is multimedia and conceptual, like a canvas of cigarette butts or Walmart bags, reflecting his simultaneous repulsion by and participation in consumer culture. Descheny, who grew up attending the Museum of Northern Arizona’s Navajo

festival each summer with his family, recently graduated from the Institute of American Indian Arts in Santa Fe with a bachelor of fine arts degree in museology. Now he is back in his home state as a program manager at MNA, the first Native to fill this role. Cara Romero (bottom row, second from left), IAIA class of 2005, worked closely with other alumni to stage this portrait, which includes many of the Institute’s notable graduates. Having graduated between 1966 and 2020, these 41 alumni represent more than that many Indigenous nations. Dr. Jessie Ryker-Crawford (second row from top, second from left), class of 2000, is heading up IAIA’s new graduate program.

CARA ROMERO

n the 1860s, the great-grandmother of Darvin Descheny (Diné) joined thousands of other Navajos who were forced to endure the 400-mile trek now known as the Long Walk, which led them from their homes in what is now Arizona to eastern New Mexico. Thousands were displaced and some 200 people died during the arduous journey, but Descheny’s great-grandmother not only survived but even managed to bring some of her weaving tools with her. These were eventually passed down to Descheny’s mother, who taught her son to weave tradi-

1. 2. 3.

Dr. Robert Martin (Cherokee) Patsy Phillips (Cherokee) Jon DeCelles (Gros Ventre/ Assiniboine) ’85 4. Golga Oscar (Kasigluk Traditional Elders Council) ’20 5. Raymond Nordwall (Pawnee/ Ojibwe) 6. George Alexander (Muscogee Nation) ’15 7. Dyani White Hawk (Sicangu Rosebud Sioux) ’08 8. Jim McGrath* 9. Otellie Loloma (Hopi)* 10. Patricia Michaels (Taos) ’89 11. Fire Dancer, MoCNA Collection** 12. Erika Knecht ’20

13. Jody-Kaa Folwell-Lazaro (Santa Clara) ’18 14. Papa, MoCNA Collection*** 15. Kathleen Wall (Jemez) ’14 16. Fritz Scholder (Luiseño)* 17. Rose Simpson (Santa Clara) ’18 18. Roxanne Swentzell (Santa Clara) 19. Pilar Agoyo (Ohkay Owingeh/ Cochiti/Kewa) ’89 20. Dr. Jessie Ryker-Crawford (White Earth Anishinaabe) ’00 21. Portrait of Charles Dailey 22. Topaz Jones (Shoshone) ’11 23. Daniel McCoy, Jr. (Potawatomi/ Muscogee Nation) ’16 24. Terran Last Gun (Piikani) ’16 25. Robert Gress (Absaloka Crow) ’88

26. George Rivera (Pojoaque) ’84 27. Stephen Wall (White Earth) 28. Del Curfman (Crow Nation of Montana) ’17 29. Cannupa Hanska Luger (Mandan/Hidatsa/Arikara) ’11 30. Jim McGrath 31. Cara Romero (Chemehuevi) ’05 32. Diego Romero (Cochiti) ’86 33. Manuelita Lovato (Santo Domingo) 34. Linda Lomahaftewa (Hopi/Choctaw) ’65 35. Robyn Tsinnajinnie (Diné) ’20 36. Layli Longsoldier (Oglala Lakota) ’09 37. Anita Fields (Osage) 38. Joy Harjo (Muscogee Nation) ’68 39. Dan Namingha (Hopi/Tewa) ’69

40. Charlene Teters (Spokane) ’86 41. David Bradley (Chippewa) ’79 *8, 9, 16. Alfred Young Man (Cree), Three from Santa Fe, MoCNA Collection **11. Allan Houser (Chiracahua Apache), Fire Dancer, MoCNA Collection ***14. T.C. Cannon (Kiowa/Caddo), Mama and Papa Have the Going Home to Shiprock Blues, MoCNA Collection

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PETER OGILVIE

ART MATTERS

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PETER OGILVIE (2)

Undergraduate Jaime Herrell, from rural Colorado, says she came to Santa Fe for hands-on experience that “wouldn’t haven’t happened for me until way later in my career if I hadn’t come to IAIA.” She is viewing a belt by Denise Wallace (Chugach Aleut) made of ivory, gemstones, and silver. Top: Students have access to thousands of artworks in the IAIA collections. Shown are paintings and mixed media works by Tony Abeyta (Diné), Frank Day (Maidu/Konkow), Harry Fonseca (Maidu/Hawaiian/Portuguese), David Montana (Tohono O’odham), and Phyllis Noyes (Colville). Opposite: An IAIA student peruses the collections. trendmagazineglobal.com

Clockwise from top: Students in IAIA’s Museum Club take part in collaborative curation; IAIA’s Welcome Center is attached to the Research Center for Contemporary Native Arts, which is under renovation; IAIA student Kimberly Becenti (Tohono O’odham) holds an Absaloka parfleche belt by Robert Gress (Crow), made with silver and gemstones on leather, from the Institute’s collections.

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JASON S. ORDAZ; BOTTOM: PETER OGILVIE (2)

ART MATTERS

PETER OGILVIE

Long celebrated for having one of the country’s first museology departments, this year IAIA was accredited to offer a graduate degree in the field, adding to its existing master’s programs in creative writing and studio arts. The MFA program in cultural administration begins in summer 2022 with an incoming class of about 20 students. This new graduate program is the logical next step in the Institute’s evolution. IAIA started 60 years ago as a high school with a post-secondary art program sharing the grounds of the Santa Fe Indian School. In 1975 it became a two-year college, and in 1992 the Institute’s museum was renamed the Museum of Contemporary Native Arts (MoCNA) and relocated to the Santa Fe Plaza. In 2000, IAIA achieved full accreditation and started its bachelor’s degree programs, having moved to a sprawling 140-acre campus south of Santa Fe. There, the under renovation Research Center for Contemporary Native Arts gives students access to an extensive archive as well as MoCNA’s collection of 9,000-plus items. Offering hands-on experience, small class sizes, and

community-based research, the program is designed to prepare students to work within museums systems—and to change them. The new graduate program is headed by Dr. Jessie Ryker-Crawford (White Earth Anishinaabe), a longtime IAIA associate professor and an alumna herself. Over the years, she says, she has seen museums transform how they represent Native art and culture. She recalls a museum job she took soon after she graduated. “They said, ‘You’re Native American, can you look at this for us?’ It was a medicine bundle that had been opened and displayed on a tray. I almost fell over backwards. I said, ‘I’m not even supposed to look at this. Who opened this and why do you have it in your collection?’” Along the same lines, Descheny recalls that even as he fell in love with museums as a kid, he also grew up seeing gross misrepresentations of Native cultures. “I saw exhibitions with ‘Wild West Indians,’ you know, romanticized versions of Natives that don’t show us still here, living and breathing.” Unfortunately, this is a common experience for Native peoples, who have long seen their art

Brian Fleetwood (Muscogee Nation), assistant professor of jewelry for IAIA’s studio arts program, holds a silver and turquoise pendant by Kevin Kahn (Diné). Also shown are necklaces and pendants by Nathan Scott Begay (Diné/Hopi), Larry Coriz (Santo Domingo), Deborah Jojola (Isleta), and some unknown artists. trendmagazineglobal.com

LA MESA OF SANTA FE 225 Canyon Road • Santa Fe NM 505-984-1688 • lamesaofsantafe.com

Christopher Thomson outdoor sculptures

ART MATTERS

JASON S. ORDAZ (3)

Clockwise from top left: IAIA alumnus George Alexander (Muscogee Nation), class of 2015, paints during an annual scholarship event; students at IAIA can also concentrate on studio arts, like Hillary Cagey (Lummi) shown in the ceramic studio; during an orientation, new students meet, greet, and work at the campus greenhouse.

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and cultures looted or misrepresented in ways that misinform the public and reopen old wounds. Yet Ryker-Crawford acknowledges that many museums have made significant efforts to broaden their focus and, when necessary, to repatriate the items in their collections. Descheny concurs. “I’ve seen this change in my lifetime. Museums are taking a more ethical approach. They’re approaching community leaders and working collaboratively. It’s cool to see these changes happening around me as I’m working in the field.” But much remains to be done. “Our founders realized that we were not going to be able to support Native American artists unless we had our people working in museums and galleries,” says Ryker-Crawford. At IAIA, the solution has been to train graduates to work in museums and cultural centers and bring an essential Indigenous focus. This means avoiding top-down decisions, seeking consensus, and working closely with Native communities. When it came to creating a new curriculum for the graduate program, Ryker-Crawford and her colleagues consulted tribal leaders, students, and alumni— Descheny included. Ryker-Crawford notes that while IAIA undergraduates are prepared to lead museums and cultural institutions, she says that MFA graduates will have even greater opportunities and higher salaries. More importantly, they will be better equipped to help museums continue to change from within. “We’re rethinking administration through an Indigenous lens. That means listening to constituents’ needs and turning our expertise to grassroots projects. It’s about cultural support, and we need to do that from the ground up,” Ryker-Crawford explains. “Our idea of administration is less about the individual being an authority figure and more about being a leader by being a support system to the community. We require the students to return to the community—rural or urban or tribal—and to work very closely with members to come up with a project that is the community’s.” Associate Professor Mattie Reynolds (Choctaw) says that with this preparation, graduates head in one of two directions.

“About half of our students return to their communities, and they are active in tribal museums or cultural institutions. The other half are going to those big-name institutions . . . like The Met and the National Museum of the American Indian (NMAI).” In fact, alum Cynthia Chavez Lamar (San Felipe Pueblo/Hopi/Tewa/Navajo) became the Smithsonian Institution’s first Native woman director when she took the helm at NMAI this year. Meanwhile, Descheny recalls a critical lesson he learned from Ryker-Crawford: “She taught us to have a plan, but to be flexible—like water.” Now he orchestrates MNA’s annual Heritage Festival, which replaced the separate Navajo, Hopi, and Zuni festivals two years ago. The festival includes art, market wares, dances, and lectures by participants from the three larger nations as well as the Acoma, Apache, Havasupai, Hualapai, Pai, Ute, and Yavapai. “It’s the first time I’ve done something on this scale,” says Descheny. “That’s why I like IAIA. They taught us how it would be. We learned to expect museums to be underfunded and to find creative solutions.” Hired during the pandemic lockdown, Descheny says that his training in digital exhibition design also came in handy. In fact, he attributes many of the positive changes he’s seen in the field in part to the rise of social media platforms in the 2010s. “For the first time, you had Native artists curating their own galleries on Instagram,” he says. “In the past, researchers camped out at Hopi Mesa or went to Monument Valley to meet some Navajos—but now we’re just a click away. If you’re a curator, you find source material just scrolling through Instagram. That’s helping to decolonize the way museums function and how they represent who we are.” The force and potential of social media, which immediately became apparent during the pandemic lockdown, have fundamentally changed how museums engage with audiences. Reynolds teaches a course on digital exhibition design, and she says that IAIA is at the forefront of new methodologies to prepare students for the museums of today and tomorrow. “You see a trendmagazineglobal.com 73

IdaKatherine Graver

Max Lehman

New Brow Contemporary 125 Lincoln Avenue - Santa Fe, NM

505.820.0788 popsantafe.com

ART MATTERS

Left and above: With a turtle representing Mother Earth and the coming together of Indigenous nations in its defense, recent graduate Suni Sonqo Vizcarra Wood (Quechua Nation, Peru/Taos Pueblo) created Hampiq Pacha, Time-Space of Healing (2021), cast bronze and resin.

JASON S. ORDAZ (3)

Bottom: A detail of Camilla Trujillo’s tryptich Land of Strong Mothers: Herb Wall, made from juniper, juniper berries, escoba de la vibora, horse nettle, chamiso, estafiate, chile, beans, corn, squash, osha, yerba manzo, and evergreens, which was included in MoCNA’s 2019 exhibition Reconciliation.

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KAY V. WIEST, COURTESY OF IAIA ARCHIVES, SANTA FE, NM

IAIA exhibition arts students preparing a museum installation in 1963 for the Miccosukee Tribe of Florida.

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ART MATTERS

movement happening now away from tribal museums toward cultural centers,” she says. “You know, language courses, dances, feasts—it’s been a long time coming.” Karl Duncan grew up in Mesa, Arizona, and is San Carlos Apache on his father’s side and Arikara, Hidatsa, and Mandan (indigenous to what is now North Dakota) on 76

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his mother’s. After graduating from IAIA in 2009, Duncan worked on collaborative community projects with various institutions, including Brown University, before becoming executive director of the Poeh Cultural Center at Pojoaque Pueblo in 2015. Operating as much more than a museum, the center has become a community hub

and was particularly crucial when the pandemic hit. Reynolds says that the accomplishments of IAIA alumni are part of a global transition. “We see people of color and minorities much more actively involved in telling their own stories in museums. Our program prepares students to be a part of that change.” R

JASON S. ORDAZ (3)

Clockwise from top left: Edgar Heap of Birds (Cheyenne/Arapaho), Telling Many Magpies, Telling Black Wolf, Telling Hachivi (1989 diptych), silkscreen on paper; Charlene Teters (Spokane), Night Sky Dancer (1983), oil on canvas; Virgil Ortiz’s (Cochiti) Taoky, Doyen of the Rez Spine Watchmen (2019), high fire clay, from MoCNA’s 2020 exhibition Indigenous Futurisms: Transcending Past/Present/Future

‘Fire & Ice 45’ 30” x 40”

www.marystrattonart.com marystrattonart@aol.com

575-770-0760 • 102 Dona Luz, Taos, NM 87571 (West of the Taos Plaza) Also represented by Royal Street Fine Art • Aspen, Colorado

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FRED BURNS

aos-based painter Fred Burns is interested in movement and form, and his paintings capture motion within the

space of a canvas. Riffing off classical art history motifs, Burns references the work of prior masters. At the same time, he always draws from live models and finds that he becomes deeply involved with the constantly changing environments as he paints. Burns grew up in Southern California, where he realized early on that he had to be an artist, when, at around age 10, he saw an exhibition of Vincent van Gogh’s paintings in LA. “An airraid siren went off,” he says. “I wanted very badly to do that.” Burns went on to major in art and study film animation as a graduate student at the University of Southern California. Meanwhile, he says that “LA was tremendously exciting” in the mid- to late-1960s. Yet even as contemporary trends raged, Burn fell in love with art history, fascinated by French painting of the Baroque and Rococo periods. Classical and neo-classical influences persist in his current work. This includes his version of Rococo painter Jean-Honoré Fragonard’s The Swing, where movement is built upon movement. The period’s curling, twisting arabesques are a natural for Burns, and for him, Fragonard’s landscapes are always in motion. Like Van Gogh’s iconic swirling, spinning paintings of the late-19th-century French countryside, the painters Burns uses for his inspiration are masters of capturing movement within an everchanging space.

fredburnsart.com | rootwings.com 80

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| info@fredburnsart.com | 919-357-2909 | 619-885-5521

From left: Out of India, pastel, 44" x 30" The Fairy Queen, pastel, 44" x 30" Alice in Wonderland, pastel, 44" x 30" trendmagazineglobal.com

Immense simplicity Finding something unnoticed and bringing it to light

Jozsua Martinez | Jozsuamartinez@39visuals.com | 39visuals.com | 312.288.5931

Aspen Shadows, 16"x 16,” oil on panel

HILLSIDE FALL COLOR, 12” X 9”, OIL/LINEN ON PANEL

Ron Larimore –Taos–

PAINTING THE BEAUTY OF THE AMERICAN WEST PLEIN AIR & STUDIO PAINTINGS

Please visit us at 135 N. Plaza, Taos, NM or larimore.faso.com | 575.770.4462

C AR A ROMERO Tapping the Regenerative Power of Art hat would American art have looked like over the past century if every genre had included the viewpoint of Indigenous artists? Start with one art form—photography for film noir posters—and take a look at contemporary Native photographer Cara Romero’s piece, Dans L’ombre (In the Shadows). A young Native woman in a dark alley reacts in fear to something she sees or hears, a threat lurking in BY GUSSIE FAUNTLEROY the shadows. “What is terrifying her? It PHOTOS BY CARA ROMERO could be so many things,” Romero says. “I’m offering that moment for the viewer to connect with what a Native American woman might have to fear in this world.” The dangers, the artist suggests, extend well beyond the stereotypical sinister character with a knife. Romero, a Santa Fe–based photographer and enrolled citizen of the Chemehuevi Indian Tribe in California, has spent much of her career reimagining American art and culture from the perspective of those who have been invisible to the larger society. Her Native Noir and Americana series are among several approaches that include figures photographed underwater and striking portraits of Indigenous individuals. She works on multiple projects concurrently, propelled by nonstop creative energy and a work ethic that involves printing all her own limited edition archival pigment prints. Her museum prints are frequently scaled at 40 by 60 inches, with some reaching 120 inches wide. Much of her work, she says, involves “resurfacing our indigeneity in a modern context.” In the case of her acclaimed underwater series, resurfacing refers in part to her tribe’s history of literal and cultural submergence—in 1940 a large portion of the Chemehuevi ancestral land was lost through flooding of the dam that created Lake Havasu. Photographs such 84

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as Havasu (on our cover) reflect a sense of spiritual and cultural re-emergence. The stunning image portrays a young Native woman floating underwater, appearing to ascend toward a source of light. “For my tribe, growing up along the Colorado River, or people along the Rio Grande, there’s such a deep connection to the element of water. When you swim in the river it’s almost like communing with an entity or spirit—there’s a feeling of reverence,” she says. “In the Chemehuevi worldview, women in particular have the ability to commune with land and water.” Romero’s photograph Gaea speaks of a time when Creation was embodied by Great Ocean Woman and life emerged from the sea. Shot on the California coast and reconceiving the graceful ballerina as a symbol of female creative power in an Indigenous worldview, the artist engaged her daughter Crickett Tiger, a ballet student, as the model. Crickett’s dancewear was created by Romero’s friend Leah Mata Fragua, an acclaimed regalia maker of the coastal Northern Chumash tribe who now lives at Jemez Pueblo. The long Russian ballet skirt is made of bark, with a corset of feathered pelts and handshaped abalone shell. The dancer’s crown is topped with feathers and her ballet shoes are painted with red ocher. Growing up on the California side of Lake Havasu, Romero was surrounded by strong female role models, including her grandmother, who served as the tribe’s chairwoman. The desert landscape and lake were an integral part of daily life, and the tribe’s small population produced a communal feeling and sense of security. “It was like an earlier time, a very sweet, magical way to grow up,” she says. Yet along with a deep sense of belonging and community, her childhood contained the

Miktlanziwatl (Lady of Death) Created in a spirit of solidarity with Romero’s Indigenous Azteca sisters to the south and those living in the United States, this image features Azteca sisters Crystal and Luna Zamora. Their dress reflects traditional Día de los Muertos (Day of the Dead) celebrations, whose Aztec roots date back 3,000 years.

ache of family suffering. She now sees that both aspects helped shape her into who she is today. When she was in elementary school, her Chemehuevi father and German/ Irish mother divorced and Romero moved with her mother to Houston. There, history classes and immersion in American culture reinforced her awareness of her own complex identity and the devastatingly inaccurate portrayal of Native life and history. “I knew from a very young age that there was a stark contrast between my lived experience and what the outside world thought we were,” she says. This dichotomy led to the study of cultural anthropology at Houston University. There, as a senior, Romero borrowed a camera and took her first photography class. She had no photographic experience, but the instructor had the wisdom to emphasize creative content rather than strictly technical skills. “That was such a blessing. I had so much to say, so much empathy, especially for marginalized people,” she says. In choosing to study anthropology, she believed writing and teaching

would become her tools for broadening people’s views and correcting long-standing Eurocentric narratives about North American Native experience. Yet she found she could express herself in a much more powerful, nuanced, and visually beautiful way through the photographic image. Following graduation Romero continued honing her fine art and photographic skills at the Institute of American Indian Arts in Santa Fe. The experience of living and exploring art with students from dozens of tribes was life-changing. Years later, the bonds forged at IAIA remain strong, she says. “We almost become like another nation, an intertribal art community that doesn’t exist anywhere else.” After attending Oklahoma State University to add digital technology to her photographic skills, she returned to Santa Fe, where she married internationally known contemporary ceramic artist Diego Romero of Cochiti Pueblo. These days Romero’s award-winning photography is finding a place in top contemporary American art institutions. She is part of a show, Our Selves: Photographs

by Women Artists, which opened in April 2022 at the Museum of Modern Art in New York and features 100 women photographers whose work MOMA has recently acquired. She is an invited artist in Water, Wind, Breath: Southwest Native Art in Community, which opened May 15, 2022, at the Barnes Foundation Museum in Philadelphia. And opening June 12, Water Memories, the first-ever exhibition of contemporary Native American art at the American Wing of the Metropolitan Museum of Art in New York, is titled after one of Romero’s pieces in the show. Closer to home, a “life-affirming milestone event” is the opening this summer to showcase the photographer’s own studio and gallery space at the Guadalupe Center in Santa Fe. “It’s taken me farther than I ever imagined,” she says of her art. “Creativity is renewable and regenerative—it never goes away. Since childhood it’s been my best friend, and it’s safe to say it will take me through all my years.” cararomerophotography.com trendmagazineglobal.com

Coyote Draws the Strings In her Coyote Tales series, Romero creates staged scenes featuring the mythological character Coyote, the fabled trickster. In this scene, shot at the Scottish Rite Temple in Santa Fe, Coyote is the puppet master, pulling the strings in a morality play that serves as a cautionary tale. As a cultural allegory, Coyote is a coming-of-age figure, learning lessons by exploration, trial and error, and testing the boundaries of the adult world through life experiences. The marionettes are, from left, Phillip Nohkop, Amber Morning Star Byars, George Alexander, and Laura Hinman.

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TV Indians Like survivors amid the ruins of an earlier era, these Puebloan people pose among 40 vintage television sets atop a cliff overlooking the Galisteo Basin. On the screens are images, some iconic and others less familiar, of Indigenous people as depicted in American media. Among them are the “Crying Indian” featured in the 1971 Keep America Beautiful ad campaign and a still shot from the 1990 film Dances with Wolves. With calm, defiant expressions, the man among the old televisions gazes into the distance while the three women stare at the camera, a slight smirk on the face of the mother holding her baby.

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The Last Indian Market Based on Leonardo da Vinci’s The Last Supper, Romero’s composition gathers an American Indian diaspora of notable Native artists, including several painters and potters, a filmmaker, a jeweler, a bead worker, and a poet. The central figure is performance artist “Buffalo Man.” According to Romero, each is a real person with a remarkable story, and many of them have been friends with each other for more than 25 years. As in Italian Renaissance painting, a conversazione silenziosa, or silent conversation, is taking place within a spiritual realm, where the narrative requires only gesture and expression and all is understood.

Nipton Highway This photograph is a sweet and personally sentimental image for Romero. It honors family and a sacred landscape along the California/Nevada border in the Mojave Desert that once belonged to Romero’s Chemehuevi family, before the tribe was reorganized into a reservation. In the middle of Nipton Highway, about 100 miles from the current Chemehuevi Valley Indian Reservation, stands Romero’s son Santiago holding his baby brother, Paris.

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Paso Robles During a three-month photo shoot in Los Angeles, Romero says that she and her cohorts went out of their way to find tiny, as-yet-undeveloped spots within the overgrown city “so we could place our bare feet on the ground and pray.” Here, in an area now known as Paso Robles, a young woman stands on a cliff’s edge above the ocean. She is dressed in regalia of Southern and Central California Coastal First Peoples created by regalia maker Leah Mata Fragua.

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Sand & Stone Romero describes the Mojave Desert’s dry washes as the tide pools of her ancestral landscape, full of life and the collision of water, stone, and sand. In Chemehuevi origin stories, the land was born from the body of the female Creator. This image reflects Indigenous women’s visceral feelings of intimate connection with the land. “We emerge from our cultural landscapes and are forever found within, inseparable from our homelands,” Romero says. The photograph of Sheridan Silversmith was taken in a desert wash on the Chemehuevi Valley Indian Reservation, “a place we love with our entire selves,” the photographer says. trendmagazineglobal.com

Oil Boom Shot underwater, model Cannupa Hanska Luger appears suspended in a sepia brine of oil, his arms outstretched, his eyes closed. Along the horizon above his head loom countless oil pump jacks, heartless beasts in an industrial landscape. Luger, a Santa Fe–based social-practice artist, was raised on the Standing Rock Reservation in North Dakota, where in 2016 massive protests took place to fight construction of the Dakota Access Pipeline. As with the Chemehuevi, his tribe’s ancestral land was also flooded in the 1960s. Here he symbolizes the fate of all peoples displaced and culturally ravaged by the forces of “progress” and greed.

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Water Memory This underwater image is part of Romero’s Water Memories series. With a title suggestive of water’s transformative power and its reputed ability to store memory, the photograph depicts Puebloans suspended in a drowned landscape. It straddles twin histories: the flooding of tribal lands to build dams and the impacts of climate change. Romero’s images expose the fragile and essential relationship that exists among people, water, and life. “They are individual explorations of space, memory, and diverse Indigenous narratives that are both terrifying and peaceful,” she says.

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Spirits of Siwavaats An abandoned truck with a beautiful patina of age has been sitting in a yard across from Romero’s home for about 20 years. Shyly posing on the truck, four boys from the Chemehuevi Valley Indian Reservation are dressed in traditional clothing. As if representing overlapping eras, these boys on a truck remind us of the universal qualities of childhood. Regardless of race, religion, or place of origin, Romero says, “they all seem to play the same.”

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Coyote Tales No. 1 Imbued with a sort of magical realism inherent to the Indigenous worldview, this image merges ancestral beliefs and contemporary Native life. Coyote, “our favorite character in California Indian mythos,” as Romero puts it, amuses us with his exploits of magic, love, romance, gluttony, and questionable activities. He represents human nature, allowing us to learn through his fateful decisions. Here he has tricks up his sleeve, roses behind his back, shoes ready for running, and a tail escaping from his jacket. The shoot took place in front of Española’s locally iconic Saints & Sinners liquor store and features Fred Rael’s prize-winning ’64 Impala lowrider, which he named “Prestigious.” The models are Dina Divore (Jemez/Kewa), Derek No Sun Brown (Shoshone-Bannock/Anishinaabe), and Kaa Folwell (Santa Clara).

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Naomi Like the myriad dolls available in pop culture, this piece from Romero’s First American Girl series addresses the artist’s deep desire to make visible California’s Indigenous peoples and their traditional arts. It also reflects her love of California pop culture. The model, Naomi Whitehorse, is the daughter of Leah Mata Fragua, a celebrated regalia maker and traditional arts keeper of the Northern Chumash tribe from the land of San Luis Obispo. “This was one of my favorite photographs to ever create,” Romero says. Inside the doll box, clockwise from bottom left, are a tule bundle, clapper stick, winnowing basket, mallard, clamshell and abalone belt, basket hat, and three bristlecone pine cones on the pedestal. Nuance and symbolism surround the figure, Romero says. Naomi’s abalone-adorned dress and her necklaces of pine nuts, Olivella snails, abalone, and clamshells are wearable tributes to the regional natural materials used by her tribe since time immemorial.

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Golga Yup’ik artist Golga Oscar is a celebrated young Two-Spirit regalia maker from Kasigluk, Alaska. He explores his creativity and indigeneity by teaching himself forgotten techniques and blending traditional and contemporary arts. “The results are otherworldly. I wanted to take a portrait that captured his grace and vision,” Romero says. Shot in the Coe Center’s vacant Santa Fe warehouse during the pandemic, the image incorporates the effects of machine-made snow and fog. Golga wears his handmade, fine-art regalia and sports antique snow goggles borrowed from the Coe’s collection. At a time when COVID restrictions made life difficult, Romero says, “He played traditional Yup’ik music for us on set and lifted my spirits.”

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Gaea This photograph speaks of a time when Creation was embodied by Great Ocean Woman and life emerged from the sea. Shot on the California coast and reconceiving the graceful ballerina as a symbol of female creative power in an Indigenous worldview, the artist engaged her daughter Crickett Tiger, a ballet student, as the model. Crickett’s dancewear was created by regalia maker Leah Mata Fragua. The long Russian ballet skirt is made of bark, with a corset of feathered pelts and hand-shaped abalone shell. The dancer’s crown is topped with feathers and her ballet shoes are painted with red ocher.

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Three Sisters Implemented by many tribes, the “three sisters” garden contains corn, beans, and squash, which thrive when planted together. The understanding of the plants’ interdependence reflects sophisticated Indigenous knowledge of empirical science, which has helped tribes live sustainably and in harmony with the environment for thousands of years. This image, in the Indigenous Futurism genre, imagines a future where Native women hold a sacred role in the healing and balance of our Earth. The wires are “plugged in” to their hearts, minds, and life-giving energies—those aspects of being human that our future depends on for survival. Each woman wears tribe-specific symbols digitally remastered onto her body. “We can imagine that, despite the ever-changing landscapes of lifeways and culture, we will take our ancestral designs well into the future, as they are ever-permanent,” Romero says. Three Sisters features Leah Kolakowski (Keweenaw Bay Ojibwe), Kaa Lazaro-Folwell (Santa Clara), and Peshawn Bread (Kiowa/Comanche).

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Peshawn No 1 This photograph featuring Peshawn Bread (Kiowa/Comanche) was produced using a projector and a carefully placed projected image of an antique Comanche parfleche bag. Projected onto Peshawn’s body, the parfleche design spills over onto the white canvas backdrop. A second image, of antique ledger paper from 1834, is overlaid on the first. Together they tell a story of a woman and her identity, one of empowerment and positive self-image. “To be a Native female photographer placing Native women in a strong, central role counters negative representations and the outsider’s gaze,” Romero says. R

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A Placitas couple crafts a modern live/work space with roots in the region’s counterculture past

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house

BY RENA DISTASIO | PHOTOS BY KATE RUSSELL

ennifer Vasher turns everyday objects into works of conceptual art that comment on the hypocrisies and dichotomies laced throughout our sociopolitical landscape. By contrast, the work of her husband, architect Max Vasher, is the conceptual made tangible in spaces where his clients can live in harmony with each other and with the surrounding natural environment. The Vashers do their thing separately, but together, in the house Max designed and built over the course of two years in Placitas, New Mexico. Intended to accommodate their needs as a couple and as artists, their home is indeed spirit made concrete, nestled in a region whose countercultural history jibes with the individualist ethos of its inhabitants. Although neither is from New Mexico— Max has family ties in the state but was born and raised in Michigan and Florida, while Jennifer is from Indianapolis—they both attended graduate school at UNM. New Mexico has since become home, its architectural vernacular and pioneering spirit a continual source of inspiration for Max, while Jennifer resonates with its “chilled-out” vibe. The Vashers met at a party in Albuquerque in 2001. After an evening spent deep in conversation with each other, Max left head over heels and Jennifer left town. Two years later, back in the Duke City, she sent Max an invitation to one of her shows with “Remember me?” scrawled across it. trendmagazineglobal.com

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A voracious reader, Jennifer Vasher’s work does with sculpture, installations, and drawings what many of her literary idols, like Margaret Atwood and Naomi Klein, do on the page—call things out. Jennifer, a petite, yoga-fit, early-50-something who charges the air around her with humor and enthusiasm, laughs at the memory. “Max was just supposed to be my boy toy . . . I mean, he is four years younger.” But during a road trip together up to Santa Fe, she remembered something a psychic had told her: Sometimes, a boy can become a man. They’ve been together ever since. Tall, lean, and, like Jennifer, a devoted yoga practitioner and Buddhist, Max is the measured calm to his wife’s broad expressiveness. Explaining their artistic temperaments, he says, “There’s that interview Charlie Rose did on creativity with Richard Serra and Chuck Close where they talked about the two different kinds of artists,” he says. “One is the artist who has an idea they just have to express, and they choose their medium and express it, and 106

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that’s definitely Jennifer. I’m the second kind of artist, the creative problem-solver. I need that problem, that set of limits. I’d be overwhelmed otherwise.” But each has always walked a creative path. For Jennifer, it was from childhood forward through a stint at the École des Beaux Arts in Paris, a BFA from Herron School of Art and Design in Indianapolis, and in 2000, an MFA from UNM, a school she chose because a professor told her that while UNM might not guarantee the “right” art world connections, it would teach her how to live the life of an artist. Her style is interdisciplinary, her media everything from paint and charcoal to the refuse of our consumerist culture. While she cites as influences “material-based” artists like Louise Bourgeois and Eva Hesse, books are her main inspirations. A voracious

TOP LEFT & RIGHT: COURTESY OF JENNIFER VASHER

Interdisciplinary artist Jennifer Vasher creates sculptures, drawings, and installations that comment on a variety of contemporary social, political, and environmental concerns. Clockwise from top left: Medicine Cabinet (2018), Grote medicine cabinet, steel, mirror, glass, varnished pharmaceuticals; Succulent (2018–2019), acrylic, stainless steel, plastic, motor oil, petroleum jelly, liquid rubber; the artist with several of her Power Pumps

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Plumerai (2017), from the French “to pluck,” as in je te plumerai from the song “Alouette,” is a collaboration between Jennifer and her husband, Max, that began with the manipulation of a photograph of a series of garlands made from over-the-counter pain pills that Jennifer spent years varnishing, drilling, and stringing together for eventual use in one of her installations. First, the couple digitally converted the photo to a positive/negative image, then “plucked” the negative space from the paper with a laser cutter. Each panel consists of 35 acrylic tiles into which these images are embedded, set into a two-panel screen made from hand-grained aluminum. Depending on the light and how the viewer moves around the piece, these tiles shift between positive and negative, much like the way the lay of a silk carpet changes when you move your hand across it.

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“Anything that I design must foremost address the actual spot that it’s in,” Max Vasher says. “It has to address the climate, it has to address the land that’s just outside the windows, and I want that space between the two to be blurred.”

Max’s drawings and models for Jin Zhu, the house he built in Placitas where he and Jennifer live and work. He honed his model-making skills during his tenure with Bart Prince. “It’s amazing how clients respond to them, even though you can’t see any interior spaces,” he says. “But it’s still 3D—they can pick it up and envision the whole thing. You can do all the computer models you want, but it’s just not the same.” Top: Entirely passive solar, the house stays toasty in winter thanks to the main fireplace and the banks of south-facing polycarbonate windows flanked by Trombe columns, which are both structural and a source of passive heating. In winter, the columns absorb the sun’s heat, releasing it at night. In summer, the angle of the porch overhang blocks the sun’s rays.

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The kitchen layout allows Max to prep and cook while engaging with Jennifer or their guests. Additional, more private seating is available in a nook behind the bar area. Below: Max repurposed an industrial-sized mixing bowl for the kitchen sink, sunk into the plywood counter, which is stained and sealed with marine-grade varnish. Opposite: Max designed and built most of the home’s furnishings from scrap wood, coating the pieces with a dark brown protective stain and sealant in the manner of the furnishings at Mexican beach resorts, to which the couple travel regularly.

reader, her work does with sculpture, installations, and drawings what many of her literary idols, like Margaret Atwood and Naomi Klein, do on the page—that is, call things out. “Basically, I’m doing the things that make me go ahem,” she says, clearing her throat in that way that says bullshit. “But I keep Bill Moyers in mind,” she says, “and try to be comparative rather than declarative.” As such, her work invites multiple interpretations, like the molded rubber “body condoms” from which nude bodies are either emerging or struggling to free themselves from suffocation or consumption; the steel “test tube” injected with gooey layers of motor oil, petroleum jelly, and liquid rubber; and the serene-yet-suffocating space of the installation Spa-alter. Then there are the pills, millions of them, varnished to shine like little jewels in a number of works, including Entitlement: The Past Is Never Dead and Buried (Tylenol Room). Two years in the making and exhibited from 2008–2011 in galleries throughout the US and in Paris, the installation comprises more than 500,000 over-the-counter 110

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The Vasher’s favorite “room” in the house is the small circular outdoor patio, shown here just beyond the entry hallway. In summer, it becomes a respite from the heat, as the water from the small pond and waterfall feature evaporates and cools the space, which the Vashers decorated with oriental rugs and a hammock. Max designed the shoe rack in the closet as a half-moon shape to maximize space. The large painting is by their friend Lynn Johnson, who runs the art department at Central New Mexico Community College and married the couple on the beach in Tulum. Opposite: Max and a woodworker friend built the home’s massive front door from lumber stacked on its long, flat side. The pieces are held together by glue and two long threaded rods, hidden inside the solid door, that run through pre-drilled holes in the planks. The surface was then sandblasted to create its textural relief pattern. The bronze door knocker was a gift from Max’s mom when he was a teenager.

pain pills that Jennifer drilled and strung by hand into garlands hung curtain-like around a white chaise lounge. The space is both restful—just let go and take your medicine—and restive, an indictment of the over-medication of society, our insistence on a pill for every ill. Power Pumps and Super Sprays: Weapons of the Anthropocene also bites. Exhibited at Richard Levy Gallery in Albuquerque from August through September 2021, it features the familiar shapes of cleaning products and cosmetic containers turned into surreal vessels of what Jennifer calls the cult of cleanliness. With their candy colors and surfaces as airbrushed as the complexion of an Instagram influencer, they evince a humorous, sci-fi absurdity. But recalibrate your attention and they exude menace, medical instruments culling all that is unclean, never mind the damage to our mental and environmental health.

Although created long before COVID-19 hit, Jennifer is aware of how the work might also be interpreted post-pandemic, and she’s fine with that. “It’s okay to be provocative, it’s okay to question. That’s what artists do.” In some cases, they can offer solutions. “Whereas Jennifer says, ‘Hey, look, we need to reflect on how we’re acting here,’ I try to come up with the solutions that stop us from acting that way,” Max says. “Maybe it’s our architecture, which I feel strongly influences how we interpret and react to the world.” Specifically, the myriad ways in which most residential architecture boxes us off from each other and from the environment, something about which, like Jennifer, he is passionate. Fascinated by architecture since childhood, which was spent in Chicago, Michigan, and the Sarasota/Tampa region of Florida, Max started working construction after high school, eventually trendmagazineglobal.com

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Max built Jin Zhu for under $100 a square foot, nearly unheard of for a custom build, but due in no small part to Max utilizing relatively inexpensive materials like concrete block, cinder block, sheet metal, and plywood in innovative and luxurious ways. The result is a home that is both modern and organic, where the interior spaces serve as a way to heighten one’s awareness of the natural world.

scoring a gig as part of the concrete crew at the Great Stupa of Dharmakaya at the Shambala Mountain Center in Colorado, where he became captivated by the interaction of architecture and landscape. A move to New Mexico in 1993 prompted him to apply to UNM, from which he graduated with a bachelor of science in anthropology and a master of architecture in 2005. To feed his architecture habit post-graduation, he started tattooing. It was a way, he says, to hone his drawing, design, and client interaction skills while keeping himself from becoming a CAD slave in an average architectural office. Instead, he bugged one of his idols, Bart Prince, for a job. Max worked in the iconoclastic architect’s office for two years before transitioning to assisting Prince as a private contractor on construction repair and architecture model-building projects. Prince solidified for Max the idea that “architecture is not the stuff

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that falls off a building in an earthquake. It’s the creative expression of space achieved through creatively engineering a whole standing structure.” He also learned the importance of extensively interviewing the client, understanding their problems from the start, and creatively solving those problems. For Max, that involves mixing the tenets of modernism, with its emphasis on clean lines and innovative construction materials like steel and concrete, with those of organic architecture, which urges the use of sustainable materials and processes, passive solar heating and cooling, and the harmony between design and the surrounding natural environment. “Anything that I design must foremost address the actual spot that it’s in,” he says. “It has to address the climate, it has to address the land that’s just outside the windows, and I want that space between the two to be blurred.”

Textural detail and the juxtaposition of industrial and natural materials are distinctive to Max Vasher’s work. The half-moon shape of this wooden beam bracket echoes the half-moon shape of the home itself, while rough block against smooth concrete mark the transition between wall and floor. The homes of the desert Southwest serve as an important source of inspiration as well, which can be seen in the adobe-like quality of Jin Zhu’s sheet metal exterior.

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The Vashers with their Siamese cat, Jim, whose full name is Mao Jiu Xi. Their other kitty, Madame Mao, is off camera. “Jennifer was reading a book about Madame Mao when we got them,” Max says. The home meets both practical and emotional imperatives, which, Jennifer says, Max ascertained with a long questionnaire that has become standard for all his clients. “A lot of his questions are about what someone needs from a house, but a lot of them also address the client’s mental state. He asks very specific questions about what kind of atmosphere they’re looking for, what kind of light, what kind of textures, what kind of space.”

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Like Prince, Max’s base of operations is his own home, which allows clients to engage directly with the architect in the space he designed in part as a three-dimensional calling card. The decision to build in Placitas was a no-brainer, in part because there are no building restrictions in their neighborhood and also because it was familiar territory for Max since his mother ran a bed-and-breakfast there for many years. Most importantly, though, they connected at an emotional and philosophical level with the community’s DIY spirit. “There is this pioneering history here,” Max says, “from the Spanish who lived here hundreds of years ago to the ’60s hippies who moved here and built houses in response to the environment.” That culture, that determination to live as they chose at any cost, is the spirit the Vashers promote in their art and in their life. Naturally Max built their home himself, applying his construction knowledge to everything from site excavation to concrete work to furniture design and manufacturing. Christened Jin Zhu, from the Chinese for “garrison,” it is as solid as the concrete block out of which it is constructed, yet airy and light-filled, thanks to the bank of curved glass walls set along the south side of the long, open space that holds the living and bedroom areas, which afford maximum unobstructed views of the great outdoors as well as maximum solar gain during the winter months. An open kitchen allows Max to commune with Jennifer and their guests while he cooks, while their studios, situated at opposite ends of the house for privacy, are the individual sanctums to which they retreat to make their art.

Differing artistic temperaments aside, the Vashers are simpatico when it comes to the ongoing project that is their marriage. The key to their longevity as a couple is establishing rituals, one of which includes starting their day together with coffee and conversation. This allows them to gauge how the other is doing in general and how to approach one another that day, and to retreat into their respective studios without feeling like they’ve ignored each other. These confabs are invaluable in other key ways. “We talk about what we’re working on that day and what we hope to accomplish by the end of the day,” Max says. “There’s something about verbalizing goals to someone else that makes you accountable to completing them. Since we work alone in our studios without the input of others, this becomes essential—we’re each other’s studio partners. I need her brain to help influence my creativity and she needs my brain to figure out how some of her ideas will work in the real world.” And while they live garrisoned from the hustle and bustle of the city, the digital era has been another boon to their practices. “That decentralization,” Max says of the online world, “brings the city into the country.” It has also allowed them to touch audiences the size of which would not have been achievable in an analog world. No doubt social media is the new frontier of creative expression, affording endless freedom to the 21st-century do-it-yourselfer. “The philosophy of American democracy and the right of us all to choose our life path—that’s integral to a life well-lived,” Max says. “That’s what we’ve built here.” R trendmagazineglobal.com

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MAKING HIS MARK Santa Fe artist JAMES DRAKE explores the complexities, challenges, and contradictions of the human condition

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BY NANCY ZIMMERMAN | PHOTOS BY PETER OGILVIE

There’s something both life-changing and lifeaffirming in the work of James Drake. His drawings,

videos, sculpture, photography, and installations offer wide-ranging commentaries on the state of humanity, addressing both the material world and the metaphysical realm via representations of people, animals, current events, and cultural and historic milestones. Impossible to categorize or label, Drake’s work stands out for its ability to inspire contemplation, elicit discussion, and lure the viewer into an all-encompassing world characterized by both heroism and fatal flaws, cultural clashes and moments of joy. Whatever his medium, Drake has created a consistent vocabulary of images that function as allegories to explore deep questions about humanity, civilization, and the conflicts of good and evil. While his work has developed maturity and depth over the years, there was never a time that Drake wasn’t an artist, nor was there ever any question that art would become his life’s work in some form. Even as a small child he was fascinated by the world around him, both visually and experientially, so the seeds that would blossom into a serious talent were sown early in his life. “I was always drawing or making things as a child,” Drake recounts. “I would draw pictures or put together model airplanes or boats, making things out of wood. I wasn’t that good at sports, so I read a lot and enjoyed solitary endeavors. It’s still like that to this day—I have no assistants to help with my art making and never did. It’s kind of a solitary way to pursue your life, but I like it.” “Solitary” might seem an odd way to characterize the life of such an affable, accessible person. With his easygoing Texas drawl and a casual, unpretentious manner, Drake quickly dispels any awe one might feel in the presence of such a major figure in the art world. Throughout the four-plus decades of his career, his work has been included in the Venice Biennale in 2007 and the Whitney Biennial in 2000, and has also been shown in museums and galleries throughout the country, including SITE Santa Fe, the Smithsonian American Art Museum in Washington, DC, the Art Museum of South Texas in Corpus Christi, and the Museum of Contemporary Art San Diego, among many others. He is the recipient of numerous awards, including three National Endowment for the Arts grants, a John Simon Guggenheim Memorial Foundation Fellowship, and a Nancy Graves Award for Visual Artists. trendmagazineglobal.com

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Born in Lubbock, Texas, in 1946, Drake and his entire family moved to Guatemala when he was two years old. “Back in the 1930s, my mom and her sister wanted to seek their fortunes, but they knew that if they stayed in West Texas they’d end up being glorified secretaries. So they moved to Mexico City, then to Guatemala City, and they loved it there. After a while they came back to Texas and my mother married my dad, and later the whole family went back to Guatemala. It’s been an incredible influence on me, and I remember everything about it.” Unfortunately, the political situation in Guatemala at the time was a turbulent one, and Drake remembers seeing tanks in his front yard and people shooting at each other. Deciding it was unsafe to stay there, the family moved back to Lubbock, where he attended elementary school. When his parents divorced in 1960, he moved with his mother to El Paso, where he went to high school. “In high school I was that kid who was the artist,” he says. “There’s always one, right? In addition to the singer, the super120

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athlete, the brainy one. I drew pictures, and I was the artist for the yearbook. I also took art lessons on the side.” Drake decided at age 14 that he wanted to pursue art seriously, and his supportive mother helped to facilitate that dream. “She took me to Mexico City to see the works of Diego Rivera, José Clemente Orozco, David Alfaro Siqueiros, and Frida Kahlo, and that had an incredibly profound effect on me,” he says. “Also, as a kid I remember going to the movie theater and sitting there, completely enthralled by the scale of everything, that incredibly huge screen where all of this adventure was taking place. So now when I do something like a large-scale piece, I always have it in the back of my mind that I want to achieve that same scale and sense of adventure, of awe, of discovery.” After graduating from high school in 1964, he headed to Los Angeles to study at the ArtCenter College of Design, where he earned a BFA and an MFA. “Los Angeles in the ’60s was a pretty exciting place,” he recalls fondly. He got involved with music there and met a lot of big names in that industry who were interested in

PREVIOUS PAGE: PHOTO BY PETER OGILVIE, COURTESY OF THE TIA COLLECTION

Drake works on his large-scale drawing, City of Tells, charcoal on paper mounted on canvas. The piece, a continuation of his 2005 installation of the same name at SITE Santa Fe, is populated with the artist’s family and friends as well as people of note through the ages: Diego Rivera, Michelangelo, Raphael, Goya, and Murray Gell-Mann, among many others. Opposite: Drake’s worktable is alive with sketches and studies, some of which will appear in the mural while others are completed works. Another section of the mural features a banquet table, a recurring them in his work.

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Drake fills in a geographic detail of a new iteration of City of Tells. On the far wall is a self-portrait in pastel and ink beside a series of smaller works in ink and iodine.

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Drake has created a consistent vocabulary of images that function as allegories to explore deep questions about humanity, civilization, and the conflicts of good and evil.

art. He also explored the galleries that lined La Cienega Boulevard, including the Ferus Gallery, famous for showing the early work of contemporary artists like Ed Ruscha. “I really loved LA, and always thought I would stay there and teach.” Despite a few interviews, however, he was never offered a job, so he returned to El Paso, where he felt at home with the Hispanic culture that recalled his days in Guatemala. “El Paso is a very interesting place,” he says. “A lot of my work then revolved around the border—the tensions, the conflicts, the humanity. I still do a lot of stuff like that to this day.” Although Drake had majored in painting at ArtCenter, he was most attracted to drawing. “I came to the conclusion that the world didn’t need another painter,” he says. “I liked drawing because to me it was the basis for everything—painting, sculpture, even film. When I did my first video, drawing was the basis of my first storyboard for the film. It’s my core.” The video, called Exit Juárez, was filmed with a Betacam. “It was about a guy tattooing a friend of his using the old style, where you take a toothbrush and cut off the ends so you just have the handle, with needles embedded in it. You do it by hand, not with a machine,” he explains. “I was in several galleries then, and I went to them and told them I wanted to include the video in my exhibit. It was 1979, so they didn’t even have the equipment to display a video. I agreed to pay for it. They had never heard of including video in an art exhibit, but it was a big hit.” In the course of gathering material for video, Drake was also acquiring ideas for his drawing. “I’ve done about 10 or 12 videos,” he says. “I started carrying a video camera around with me, and when I saw something that intrigued me I would film it. When I crossed the border into Juárez, Mexico, I would tape the camera onto the dashboard of my truck so I would automatically film everything while I was driving around. I still have hours and hours of that kind of footage that I might use for some project in the future.” trendmagazineglobal.com

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Can We Know the Sound of Forgiveness (2021), charcoal on paper mounted on canvas. Drake made this drawing during the pandemic lockdown, a time when he wanted to address the issues everyone was grappling with: chaos, desperation, and, ultimately, forgiveness.

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THIS PAGE & PREVIOUS: PHOTOS BY PETER OGILVIE, COURTESY OF THE TIA COLLECTION

Drake is known for his ability to capture the beauty and versatility of the human figure. His subtly executed representations burst with life, implying physical strength and action even when the muscles are in repose. Exit Juárez, in charcoal, tape, and various small objects on paper, demonstrates his skill at combining sweeping gestures with fine detail.

“I came to the conclusion that the world didn’t need another painter. I liked drawing because to me it was the basis for everything—painting, sculpture, even film.”

His venture into video was actually an outgrowth of his interest in photography, some of which accompanied his drawings in the Whitney Biennial of 2000. “I never considered myself a photographer,” he says. “I was a recorder of people and street scenes in different locations, mostly in El Paso. I used a lot of the photos as a basis for my drawings and sculpture. I also went through a 20-year period where I did lots of steel sculpture, such as a Civil Rights project that covered the Alabama police dog attacks on protesters, the Children’s March, the fire-hosing of the people.” Drake doesn’t delve into the mechanics of the art forms, however, preferring to let professionals do the technical work of developing the photos or entering the edits for his films. “Even though I do video, I’m not that technically proficient and don’t particularly want to be.” It’s the same with photography. “I wasn’t interested in developing the film or using a darkroom. I was more interested in immediately capturing the human element, the human condition as I saw it.” For the past 10 or 15 years Drake has been creating drawings almost exclusively. “I like to draw on a really large scale,” he says. “I like the physicality of it, the drama, and the engagement—not necessarily my own engagement but the viewer’s.” He begins these large-scale drawings by making marks, using charcoal, graphite, and ink to create dots and lines that eventually morph into complex figures and objects. The worlds he thus envisions are seductive ones, leading us to re-examine relationships and reactions as he underscores the tensions, anomalies, and realities of human interaction and development. The exhibitions that come out of this process tend to be epic and memorable, more like major events than typical art shows. His landmark 2005 installation City of Tells at SITE Santa Fe, for example, consisted of two large pieces about 12 feet high by 32 feet long. One was a video in three parts that chronicled

the spontaneous behavior of a hummingbird, a python, and a herd of swine when confronted with a banquet table. The video’s soundtrack was composed by Pascal Dusapin, a recipient of the Victoire de la Musique—the French Music Academy Award—for the composer of the year. The other piece was a charcoal drawing on paper, mounted on canvas, of a social gathering, with the same banquet table in the background. The gathering’s attendees were a collection of people who were important in Drake’s life. According to SITE’s catalog, “. . . by using the motif of the table as a Renaissance tableau, Drake references biblical tales and cultural mythology. City of Tells poetically addresses a collective Western history and life.” Another memorable exhibit was 2002’s The Hummingbird’s Equation, in which Drake collaborated with Nobel Prize–winning physicist Murray Gell-Mann. Drake created 30 drawings on paper of hummingbirds enhanced by penciled captions of mathematical equations by Gell-Mann that together quantified the bird’s seemingly magical ability to fly more than 600 miles on 2.1 grams of nectar. In 2014’s Anatomy of Drawing and Space (Brain Trash) at the Museum of Contemporary Art San Diego, Drake created 1,242 drawings in pencil, ink, and charcoal that encompassed mathematical formulas, skeletons, and wild animals to examine violence and division between humans and animals. The museum characterized the exhibition this way: “Drake’s confidence as an artist and virtuosity as a draftsperson are on display in this retrospective reckoning of his overriding themes of order and chaos, life and death, and legacy and innovation. Contemporary and traditional both, this cycle of drawings serves as an echo of the artist’s studio—the artist’s mind—played out on an epic scale.” When it comes to his own legacy, Drake is less interested in enduring fame and more concerned with maintaining the honesty trendmagazineglobal.com

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These sketches on paper were inspired by the larger work Can We Know the Sound of Forgiveness (page 136). Drake says, “The smaller drawings are more of an intimate response to those feelings of desperation evoked by the pandemic.”

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Drake in his studio, where he puts in hours of work daily, even when not preparing for a show. While his discipline is rigorous, his enjoyment of the process yields a prolific output and adds freshness to his work even as he revisits the recurring themes that have become his trademark.

that is the essence of his work. “I’d simply like to be known as someone who actually contributed to art and the way we see it,” he says. “I try to maintain a high level of honesty and quality.” That honesty extends to his motivation in creating the art in the first place. “You have to engage people somehow, but how do you do that?” Drake asks. “That is the mystery. If you have an idea of how you want people to feel, and you create a work to do that, it’s a kind of manipulation. People will resist that. They’re not stupid, and they know when you’re being insincere. And they also can tell when you are honest. It’s an interesting quality of human beings, and animals have it, too.” He says that he doesn’t believe in creative epiphanies, either. “You have to work at it every day. Then the work just evolves. You

don’t even need to have an idea to start with—you just work until it comes. I like the physical aspect of making marks on a twodimensional surface, and I like using my hands. That’s how it all starts, and that’s why I like to work without assistants other than to put things up or take them down. I don’t want anyone else making a mark on my work. I don’t belittle others who do it that way, but it’s just not my way.” Ultimately, Drake’s purpose is to continue to mine life’s mysteries for his subject matter. “Having to create work for an upcoming exhibition motivates me and keeps me engaged with the world,” he says. “I like the give and take—the conversation with the world. I want to retain my excitement and wonder over something new, and for me that means making art.” R trendmagazineglobal.com

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The Art of Carlos Carulo

Cluster Cells

Mixed Media on Canvas 49 x 39 inches

CarlosCarulo.com Watch a sneak preview of scenes from “The Complexity Project” A new documentary ﬁlm-in-progress By Mark Gordon Visit the artist’s studio by appointment

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ARTIST STUDIO

BY GUSSIE FAUNTLEROY | PHOTOS BY PETER OGILVIE

NATURE VERSUS HUMAN NATURE

PAINTER MARK SPENCER

examines the human condition and explores the potential for transformation

hen Mark Spencer says he’s always been unconventional, try picturing this: a wise-guy six-year-old puffing on a cigarette, hanging out with the members of a hot-rod club—“I was their mascot,” he says—and buying his own Elvis records with money earned from “weird little jobs.” For his sixth-grade science fair project, he was determined not to make a volcano model or ant farm. Instead he sculpted a 12-inchtall clay seated figure of Julius Caesar, his arm extended and the words Et tu, Brute? written on the pedestal. His science teacher, who fortunately had a sense of humor, gave him an A. The project did involve some science, or at least mathematics, in building the armature. More importantly, it pointed to a free-range imagination that teamed up very early on with a passion for art, a combination that has fueled his creative life ever since. At 72, Spencer still dips into that intuitive, imaginative well each time he puts pencil or charcoal stick to paper in thumbnail sketches, the genesis of larger color studies and ultimately of every painting he does. In his Pacheco Street studio in Santa Fe, where he has gone every day for the past 23 years, he homes in on a snippet of composition or the vague suggestion of a form he has drawn. “Something might be compelling about it, a little thing going on here, and I’ll pull that out,” he says. At this point in the process he has no narrative in mind, no sense of where the image will go. But as it develops, there invariably comes a moment when he trendmagazineglobal.com

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Tempered (2018), oil on canvas. “Our life experiences temper our spirit, just as steel is tempered by fire,” says the artist. “Hopefully, we will evolve our consciousness in time for our species to survive.”

Opposite top: Prometheus (2020), oil on canvas. This dramatic representation of the Greek god who gave fire to humans captures both the actual and symbolic power of the flame. Prometheus was severely punished for allowing the evolution of human civilization to begin.

Previous page: Mark Spencer at work in his studio.

Opposite bottom: Border Storm (1987), oil on canvas. Spencer was inspired to paint this during his first visit to El Paso in 1978, where he was struck by the desperation of those crossing the border into the US and wondered what powerful forces led people to leave their homelands. “This image is probably more pertinent today than when I created it,” he notes.

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BOTTOM: COURTESY OF MARK SPENCER

suddenly becomes aware of what the painting is about. “And it’s always the same theme,” he says. “Nature versus human nature.” Growing up in a semi-rural suburb of Boston, Spencer was a typical 1950s kid who spent as much time as possible outdoors, which for him meant in nature. There were woods and ponds to explore and the bay and ocean nearby. His first commissioned work, at age 12, was a painting of a friend’s parents’ boat on which he had sailed. His first artistic role model was his mom, a mother of five whose feminist impulses clashed with her conventional homemaker role. As a young woman during the Great Depression, she worked as a fashion illustrator for a newspaper, later painting in oils and excelling at drawing. She encouraged Mark’s interest in art, enrolling him in Saturday morning lessons. His father was executive secretary of the Massachusetts Medical Society, publisher of the New England Journal of Medicine. The issues he brought home fascinated Mark with the science, but even more with the pictures. He remembers being struck by electron microscope photos of mesenteric (abdominal) tissue, which later inspired recurring textures in his work. Among other significant early influences: a book on Greek sculpture in his mother’s library and her subscription to a hardbound portfolio series put out by the Metropolitan Museum of Art. Each issue contained a reproduction from art history, Byzantine to Renaissance, which ended up on Spencer’s apartment walls when he attended the School of the Museum of Fine Arts in Boston. As a boy going to church with his family, he listened to Bible stories, more interested in the historical than religious aspects. In his late teens he read Carl Jung and Joseph Campbell and at some point realized that virtually all of art history up to the 19th century was about the mythologies, religious and otherwise, that reflect and shape human consciousness. “All this stuff was in my head by the time I got to college,” he says. When he got there he discovered his approach to painting was wildly out of step with the prevailing trends, although that didn’t hamper his style. “It was anathema to do anything with recognizable imagery. trendmagazineglobal.com

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First Flowers #1 (2022), oil on panel. This is the first painting in a contemplative new series in which Spencer imagines what the very first flowers on Earth might have looked like.

COURTESY OF MARK SPENCER (2)

Bottom: Blue Baroque (1987), oil on canvas. This delicate painting evokes thoughts of spring and new beginnings. “Hope springs eternal, even under overwhelming circumstances, concerning what we’re doing to our environment,” Spencer says.

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COURTESY OF MARK SPENCER

Goddess Bound (2021), oil on panel. A bound woman, who represents all women and female energy, is depicted as being fettered by male domination.

I pretty much ignored that,” he says. “I got disapproval from some instructors and approval from others.” He was so skilled at drawing that when he entered his work in the alumni show following graduation in 1971, the school’s dean was convinced Spencer would win the $10,000 top prize and congratulated the young man ahead of time. “But the committee felt they couldn’t give it to me because it was imagery. So they didn’t give it to anyone,” the artist relates, somewhat wistfully. He certainly could have used the money.

While some had little tolerance for Spencer’s art, with its suggestions of surrealism and its classical approach to rendering the figure, others appreciated his work. He began finding collectors even before graduating, including noted collector John Merriam of the John D. Merriam Collection at the Boston Public Library. “John would clear his throat and say to me, ‘I really need to see a springboard for the imagination.’ He needed something compelling and visceral, and he was right. In that way he really helped me think about

art, and that has persisted all these years,” Spencer says. In 1976, the artist made his first of several moves to Santa Fe—over the years he lived briefly in Boston, New York City, and Los Angeles, returning to New Mexico to stay in 1991. He immersed himself in Santa Fe’s lively and diverse art scene, initially becoming known primarily for his drawings. In 1977 he published a book of drawings, reaching out to a broader audience. “For me, endurance has to do with finding collectors,” he says. “I was trendmagazineglobal.com

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fortunate—people either get your work or they don’t, and a lot of people got it.” Gallery representation and museum exhibitions followed over time, and in March 2020 the Center for Contemporary Arts in Santa Fe presented a retrospective of Spencer’s art. Four days later it was forced to close as a result of COVID restrictions. Those constraints also delayed publicity travel for the monograph Beings: The Art of Mark Spencer, published in 2019 by Fresco Books. But Spencer has seen perseverance prevail, both at the canvas as he watches for a painting’s direction to emerge and in the art world. In 2021 he was named Santa Fe Rotary Club’s Distinguished Artist of the Year, joining such notable former honorees as Agnes Martin, Bruce Nauman, and Tom Joyce. 136

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Indeed, persistence and change represent a major subtheme in Spencer’s art: the ways in which humans are shaped by inner and outer experience as well as genetic predisposition. His Whirlwind series depicts these unsettling forces as tumultuous in both destructive and regenerative ways, although often—as in all his work—with inherent ambiguity and amorphous forms. Much of the symbolism relates to transformation and growth that frees us from the chains of ego, he says. Similarly, more recent paintings, like the 6-foot by 9-foot Tempered, are inspired by the metaphor of fire and transfiguring heat. “I’ve always been fascinated by the crucible where they melt iron and the forge where they make things from it. It’s how we become who we are, and where we’re going,” he says.

Where humanity has been and where we are headed engenders both heaviness and hope in the artist. It’s a struggle between archetypal forces that are at the heart of his worldview and work. “It’s amazing how brutal mankind has been to itself,” he says. “History is the story of human nature, and male domination is the story of history.” At the same time, a particular shape keeps returning in his art as a counterpoint to the darker aspects of our collective experience. It presents itself as a V or Y, as if suggesting a person with arms held high and wide. “It’s that expression of joy, that impulse to something transcendent,” Spencer says. “My deep experience of this life is an ecstatic vision.” Then he laughs and adds, “I’m always trying to get there.” R markspencerart.com

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Giant Orchids Sunnyside Up (1995), oil on canvas. This work reflects the artist’s take on the love and magic that flowers exude.

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E A R T H E N I NS P I R AT I ON Ceramic artist JARRETT WEST celebrates both the strength and fragility of nature

ARTIST STUDIO

BY ANYA SEBASTIAN

MONA MÄKELÄ; OPPOSITE: AUDREY DERRELL

arrett West is a child of the earth. His connections with the natural environment run deep, and they are clearly evident in his work as a ceramic artist specializing in monumental, abstract sculptures. Intended to be displayed outdoors, his works both reflect and complement the world around them, their meaning informed by the environment in which they are installed and the imagination of the viewer. “That collaboration is what completes the statement,” West says. Born in Santa Fe and raised on his family’s cattle ranch on NM State Road 14, West grew up as a country boy, immersed in the natural world around him. He had little interest in, or exposure to, the arts in his early youth, preferring to involve himself with the rural outdoors—hiking, fishing, hunting, and deepening his connection with nature. That relationship was further intensified during his teenage years, when the family moved to a cattle ranch in Wyoming and then to a farm in Idaho—a move that also set him on the road to becoming an artist. “It was as a high school student in Boise that I was first introduced to ceramics,” he recalls. “The school had really good facilities—kilns, metal shops, wood shops—and I had a great instructor. I took to it immediately. I was a natural, and I knew right away that was what I wanted to do.” After graduating high school, West decided not to go on to college but to return to Santa Fe and connect with its thriving art community. Once there, he discovered the work of ceramic artists like Bobby Brodsky, Peter Dougan, and Priscilla Hoback. “I started to make a nuisance of myself,” he recalls, “knocking on doors and asking to be taken on as an apprentice.” He did end up doing several apprenticeships over a period of about nine years, with people who really took the time to help and educate him. “It was the 1980s, and I guess things were different then,” he notes. “The art community in Santa Fe was definitely my greatest artistic influence, and I will always be grateful for that.” West’s mentors not only taught him the skills he needed in order to become a ceramic artist, but they also gave him advice on how to present and sell his work. He took that to heart, and come summer he would sit by the side of the road off NM 14 with a big sign promoting his wares. In those days he was making practical things like bowls, plates, and cups. People would stop to take a look and chat, and they would usually end up buying something. “It taught me a lot about interacting with the public,” West says, “which is essential for someone like me. I like to find out what they’re looking for, what they like and respond to. It’s about making a connection, rather than just making a sale.” As time went on, his skillsets expanded to include more than just making practical objects. He learned how to build kilns, dig native clay, and master special glazing techniques, and he even ended up designing and building homes. He completed ten of them over the years, all in the area of NM 14, using a combination of adobe, frame, and a recycled foam-block system. The

The artist preparing the surface of a section of a larger, interlocking sculpture. Opposite: A sculpture’s glaze is as important as its shape. This one was the result of a trial combo of cobalt, iron oxide, and titanium. West was so pleased with the result that he named it Robin’s Blue, after his daughter.

difference in scale between working on household objects and building homes made such an impact on him that it prompted a significant shift in his artistic evolution, as did his familiarity with the work of Japanese artist Jun Kaneko. Kaneko, who came to prominence in the 1960s and ’70s, was famous for pushing the boundaries of ceramics in a way that had never been done before, producing monumental abstract sculptures well over six feet tall. “That was what inspired me to work on that scale,” West says. “Having had the experience of building with adobe, I knew that physically and structurally I could do it.” His work is created in sections, which are then hoisted up and stacked on top of each other, either with the help of a ladder or specially constructed scaffolding. “It’s definitely demanding,” he admits, “but I like the challenge of joinery, the interlocking of the stacked components. Even so, I don’t feel the work is really complete until it’s installed outside, in the right environment.” Now a fit, youthful-looking man in his 50s, West continues to explore these themes in the studio he built, along with his home, a few miles from the ranch where he spent his early childhood. Because his sculptures are designed to live outdoors, they are crafted specifically to weather the impact of snow, hail, wind, trendmagazineglobal.com

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Top: West with what will become the nine-foot-tall Black Stack Waterfall, shown above. The finished piece features a black basalt glaze and burnt orange edging. To fire a piece this large, sections remain in the kiln for three days each at a temperature of 2210 degrees Fahrenheit. The first fire prepares the work for glazing, the second strengthens the clay into a stone-like hardness, making it resistant to even the most extreme weather conditions. Bottom left: The 24-inch-high Coming Together is another piece featuring West’s distinctive black basalt glaze. 140

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LEFT : MONA MÄKELÄ (2); RIGHT: COURTESY OF JARRETT WEST

ARTIST STUDIO

LEFT: COURTESY OF JARRETT WEST; RIGHT: AUDREY DERRELL (2)

Another black-basalt-glazed stack with interlocking sections and sockets stands five feet high. Top right: This metallic blue stack was glazed using a hand-mixed limestone base blended with cobalt, nickel, and titanium. West chooses colors, like the iron yellow on the piece Morning Sun on the High Plains (bottom right), to reflect and complement those found in the natural world.

ARTIST STUDIO

rain, ice, and UV rays from sunlight. He uses a locally blended stoneware clay and makes his glazes from crushed limestone, silica, and other natural elements. His distinctive pieces, a selection of which can be seen at Tierra Mar Gallery on Canyon Road, are monumental in size, recalling ancient monoliths, with rounded edges and interconnected shapes that reflect not only his longtime interest in the architecture of the Southwest but also the harmony and symmetry of Mother Nature. Some are deeply textured, suggestive of rock, bark, or molten processes, and his colored glazes range from burnished to high shine. His works interact with the environment, their energy shifting to reflect the seasons, and even the time of day, since sunshine and shadows, light and dark create nuances that produce subtle differences in their shapes and surfaces. An ardent environmentalist, West is alarmed at the myriad ways in which the balance of nature is currently being disturbed and undermined. “We are all part of the whole and we should be working together, not dominating the natural world around us,” he says, “and I think this is a good time for artists to step up and be responsible for stewardship of the land.” West believes that people are increasingly recognizing that imbalance and are hungry for authenticity. “That realization came to me when I was designing and building adobe homes,” he says. “Their form, their personality, everything about them feels comfortable, with an energy we can relate to, especially as they don’t conflict with the environment, they collaborate with it. 142

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I wanted to create sculptures that generate that same feeling of harmony and balance.” Rather than explain the meaning of his work, West prefers to leave their interpretation up to the viewer. “I think it’s important to let people’s imagination run free,” he explains, “just like with any abstract art. A Jackson Pollock can mean different things to different people, and I’m far more interested in hearing what people see in my work than in telling them what it means to me.” As for the future, West does not foresee any major changes in his artistic journey. “My art is always evolving and I feel good about where I’m at right now, so changes are subtle.” The ongoing technical challenges presented by ceramics keep him busy refining his techniques, while he continues to explore various themes having to do with our connection to the natural world. He feels no need to experiment with new materials, or new glazes, having devoted years of research and gone through many periods of trial and error to reach the place where he finally feels comfortable. “Working with something that is bigger than yourself—in my case, nature, the environment—is always challenging and always evolving and that feels really good,” he says. “I create works of art that are not intended to be fashionable or trendy. They are meant to last, to endure as part of the landscape and, hopefully, to start a conversation.” R jarrettweststudio.com

MONA MÄKELÄ

Sculptures in progress are kept under wraps to control the moisture content in the clay during the drying process before firing.

DESIGNsource Inspired partnerships inform Santa Fe’s built environment PHOTO BY ROBERT RECK

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Something New Under the Sun

Scheduled to break ground in 2022, this community of 100 3D-printed homes will be the largest neighborhood of its kind in the world. Using technology developed by ICON and designed by architecture firm BIG-Bjarke Ingels Group with construction by Lennar, the homes will be energyefficient and durable. Opposite: This 3D-printed house is the first of five in a project dubbed Project Milestone in Eindhoven, the Netherlands. The 365-square-foot structure features thick, stacked-concrete walls and appealing curves, which the residents say provide a sense of solidity and safety.

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Can 3D printing save the world? A growing number of architects and builders are betting on it

BY NANCY ZIMMERMAN

COURTESY OF ICON; RIGHT: COURTESY OF TWENTE ADDITIVE

t may be a cliché to say that every crisis is also an opportunity, but it’s also true that pressing problems can indeed give rise to bold ideas and world-changing solutions. But at a time when everything seems to be collapsing around us, it’s hard to know where to begin to put it all back together. Catastrophic climate events, new migration patterns, worldwide housing shortages, and endemic poverty are taking their toll, compounded by unprecedented levels of civil discord, political division, and general distrust. In such an atmosphere, where every issue is a can’t-wait priority, it might seem impossible to do the triage necessary to single out the most pressing problems to address first.

Fortunately, innovative new technologies are proving that we can in fact tackle a number of these challenges simultaneously, most notably in the building sector. Here, the 3D-printing process has quietly launched a revolution in construction materials and methods that promises affordable, eco-friendly, energyefficient housing that can be erected in record time, and at scale, using inexpensive local materials. The technology is complex, but the end process is a simple one: large printers equipped with robotic arms travel on a rail and extrude concrete, plastic, or other building materials through nozzles, layering the material to create textured, three-dimensional walls. Although 3D-printing technology was first used in the early to mid-1980s, its prohibitive cost kept it under the radar until around 2005, when various related patents began expiring and costs began coming down. The past few years have seen a surge in 3D building as tech firms have teamed up with architects around the world in projects whose building materials range from concrete to hemp to mud and plain dirt.

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REGAN MORTON (3)

Nonprofit Mobile Loaves & Fishes partnered with ICON to create the Community First! Village in Austin, Texas, the first community designed to provide permanent housing for people who are experiencing chronic homelessness. They printed three homes at a time for a series of six homes along with a 500-square-foot welcome center. The compact and contemporary one-bedroom, onebath homes are 400 square feet and feature porches with broad views.

COURTESY OF ICON, REGAN MORTON PHOTOGRAPHY (3); TOP RIGHT: COURTESY OF TWENTE ADDITIVE

The sleek interior of the Project Milestone home was designed by Dutch architecture studio Houben & Van Mierlo. The thick, curving walls create a cozy, sheltered ambience.

ICON’s proprietary Vulcan construction system was engineered to print homes at volume with precision and speed. The building materials are extruded by a robotic arm to create stacked walls that provide an insulating envelope for energy efficiency.

There are conflicting claims as to who built the first truly livable 3D-printed home, but there are a few verifiable “firsts” of note. Europe’s first such house to actually function as a home rather than a prototype welcomed its initial tenants in 2021 in a suburb of Eindhoven in the Netherlands. The house, one of a group of five planned rental homes dubbed Project Milestone, is part of a collaborative research project by the Eindhoven University of Technology and a group of construction specialists whose purpose is to further the knowledge of this kind of fabrication. The project’s additional homes will become increasingly complex, featuring multiple stories and using a variety of printing techniques. The 365-square-foot house is shaped like a boulder and features sloped exterior walls. Layers of stacked concrete were printed to form 24 individual components, then transported from the nearby printing site to the building site and assembled, attached to the foundation, and fitted with a roof, windows, and doors. The home’s interior, designed by Dutch architecture studio Houben & Van Mierlo, features thick, stacked-concrete walls, an open kitchen and dining area, a bedroom, and a bathroom. Tenants Elize Lutz and Harrie Dekkers love their new home, both for its beauty and its solidity. “It is beautiful,” Lutz says, while Dekkers adds, “It has the feel of a bunker—it feels safe.” The first 3D-printed home constructed specifically to be an Airbnb rental is the Fibonacci House, located in Procter Point, British Columbia, Canada. So named because of its adherence to the Fibonacci sequence—the “golden ratio” that occurs frequently in nature and is employed by many architects—the compact trendmagazineglobal.com

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COURTESY OF NEW STORY (2)

This home in Tabasco, Mexico, is one of a community of 50 created by ICON for people living in extreme poverty. Built in collaboration with the nonprofit New Story and the Mexican building company Échale, the 500-square-foot homes have curved walls and lattices designed to improve airflow, and the compact rooms make efficient use of space. The strength and solidity of the structures mean they can be passed from one generation to the next.

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“The big idea is to open-source and democratize and try to get this technology into the hands of the housing nonprofits and governments who want to solve serious problems in their towns and cities.” — Brett Hagler, New Story’s CEO and cofounder residence features a picturesque site with mountain views near Kootenay Lake Village. The Netherlands–based Twente Additive Manufacturing designed the house as an homage to the beauty of nature as well as a showcase for the manufacturing methods of 3D printing, with an emphasis on the notion that “a home and the humans that inhabit it are joining the environment, not controlling it,” according to a company spokesperson. “Our mission is to reduce unnecessary material consumption and increase connectivity to the natural world.” The company designed its own concrete printers to build the 35-square-meter (375-square-foot) structure, which consists of an open kitchen and living space on the first floor as well as a sleeping mezzanine level reached by a ladder that can accommodate two adults and two children. There’s also a small garden and a covered patio for barbecues. It took just 11 days to print the components, whose volume totaled 8.6 million square feet of concrete, to which elements made from sustainably harvested cedar and fir from the nearby forest were added. The house can be rented on Airbnb for approximately $133 USD per night, with a minimum stay of three nights. Proceeds from the rentals are directed to an affordable homes project led by the nonprofit organization World Housing, which plans to build Canada’s first entirely 3D-printed community of affordable houses. Closer to home, 3D-printing technology geared to construction is advancing rapidly. Austin, Texas, has emerged as a kind of epicenter of innovation for its use of 3D printing in both affordable housing and high-end construction projects. ICON, a forward-thinking construction technologies company there, has positioned itself on the cutting edge of 3D everything— robotics, software, and materials—most notably with their Vulcan construction system that was engineered for highvolume printing of homes with precision and speed, as well as their Magma automated material delivery system. One of the company’s 3D-printed homes is House Zero, which was unveiled in March 2022 as a demonstration project and field trial for ICON’s proprietary concrete wall printing system. ICON collaborated with Lake Flato Architects, an award-winning Austin-based firm known for its adherence to the principles of biophilic architecture, the newest term for buildings designed to increase occupants’ connectivity to the natural environment. Even before 3D printing

was introduced, Lake Flato was committed to designing buildings that integrate the natural world into the lives of the occupants to improve their physical and mental well-being. “Now we can put a name to the concept,” says Ashley Heeren, an associate architect with the firm. Adds Lewis McNeel, associate partner, “As with any new technology, or any technology and materials we’ve worked with, we always look for a connection to nature and a connection to place, no matter how futuristic the technology might be.” The 2,000-plus-square-foot, three-bedroom House Zero gave both ICON and the architects an opportunity to try out innovative construction techniques and test the functionality of the materials. “For instance, these are the highest 3D [printed] walls ICON has used for an ordinary house,” McNeel says. “We played with tilting the wall a little bit so it curves and bends in plane, but it also curves a little bit in sections. No one was quite certain what the limits [of the tilts and curves] were for that, so we were testing that out in small ways.” He points out that other innovations extend to aspects of the home not readily visible, such as the guts of the walls, where carefully thought-out, intricately designed print paths accommodate high-performance mechanicals. “House Zero is ground zero for the emergence of entirely new design languages and architectural vernaculars that will use robotic construction to deliver the things we need most from our housing: comfort, beauty, dignity, sustainability, attainability, and hope,” says ICON cofounder and CEO Jason Ballard. “This is the new standard of what 3D printing can mean for the world. My hope is that this home will provoke architects, developers, builders, and homeowners to dream alongside ICON about the exciting and hopeful future that robotic construction, and specifically 3D printing, make possible. The housing of our future must be different from the housing we have known.” The response from visitors to House Zero has been positive, and they comment on both its beauty and its functionality. “We’ve had a couple of people walk into House Zero and say it’s like adobe architecture, which gives it a feeling of safe shelter, as well as its irregularities and imperfections,” Heeren says. “I’d also say that we use daylight really well in the house. There are clerestory windows and a light shelf to balance daylight, and every time we’ve been in the house we trendmagazineglobal.com

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could turn off all the lights and the house would still be very comfortably lit.” ICON has also developed plans for entire communities of 3D-printed homes that are noted for their durability and affordability. In Tabasco, Mexico, the company partnered with housing nonprofit New Story to create 50 homes, 10 of which have already been built, for local families living in extreme poverty, earning around $3 per day. New Story was founded in 2010 in response to the earthquake in Haiti as a way to provide housing assistance to towns and regions that needed to rebuild quickly after a natural or man-made disaster or to address a significant problem with homelessness. The advent of 3D printing has made that goal easier to achieve, as the low cost, speed of construction, and the use of local materials make it possible to erect high-quality housing in record time. 154

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The homes in the Tabasco community are around 500 square feet and include two bedrooms, a living room, a kitchen, and a bathroom. It took 24 hours to print the components for each of them, with local workers finishing the project with the installation of roofs and doors. The houses are built to withstand hurricanes and earthquakes, and they’re durable enough to be passed down from one generation to the next. New Story next hopes to collaborate with other nonprofits working to end homelessness worldwide. Says Brett Hagler, the organization’s CEO and cofounder, “The big idea is to open-source and democratize and try to get this technology into the hands of the housing nonprofits and governments who want to solve serious problems in their towns and cities.” Back in Austin, ICON is doing its part to help alleviate the homelessness problem with Community First! Village from

IMAGES COURTESY OF WATG (4)

At the higher end of the scale, designers are delighting in the versatility of 3D-printed materials that makes it possible to incorporate undulating curves and softer shapes that would be prohibitively time-consuming and expensive using traditional building methods.

Architects particularly enjoy exploring the creative potential of the 3D building materials because this construction method allows them to experiment with shapes that would be prohibitively expensive and time-consuming if built with traditional methods and materials. Above and opposite: Curve Appeal is a 2,000-square-foot demonstration house designed by architecture firm WATG in collaboration with Branch Technology, which created the printer for the project. The extreme curves and intriguing interiors form a kind of sanctuary that’s both visually interesting and resilient. Groundbreaking for the project will take place in 2022 in Chattanooga, Tennessee. trendmagazineglobal.com

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CASEY DUNN (4)

House Zero, which opened to the public in March 2022 in Austin, is another high-end project that demonstrates the versatility and practicality of the 3D building method while showcasing the inherent beauty and potential of the materials. Built by Lake Flato Architects using ICON’s 3D technology, the home’s airy quality is enhanced by curved walls that provide separation without closing off the spaces. Exteriors are equally appealing, as the undulating shapes integrate well with the natural environment.

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“House Zero is ground zero for the emergence of entirely new design languages and architectural vernaculars that will use robotic construction to deliver the things we need most from our housing: comfort, beauty, dignity, sustainability, attainability, and hope.” — Jason Ballard, ICON CEO and cofounder

nonprofit Mobile Loaves & Fishes, which breaks ground in 2022. When completed, it will provide accommodations for 480 people, about 40 percent of Austin’s homeless population. Construction costs for each 400-square-foot, one-bedroom unit run around $4,000, and the components can be printed in about 24 hours. Interiors were designed in consultation with the eventual residents. “Conventional construction methods have many baked-in drawbacks and problems that we’ve taken for granted for so long that we forgot how to imagine any alternative,” Ballard says. “With 3D printing, you not only have a continuous thermal envelope, high thermal mass, and near zero waste, but you also have speed, a much broader design palette, next-level resiliency, and the possibility of a quantum leap in affordability. This isn’t 10 percent better, it’s 10 times better.” At the higher end of the scale, designers are delighting in the versatility of 3D-printed materials that make it possible to incorporate undulating curves and softer shapes that would be prohibitively time-consuming and expensive using traditional building methods. House Zero’s signature curves, for example, are only possible because of the material (Lavacrete, a proprietary blend of concrete that is stronger, more durable, and environmentally friendlier than standard concrete) and its seamless robotic application. “As with any new technology, we always look for a connection to nature and a connection to place, no matter how futuristic the technology might be,” McNeel says. “Biophilic principles are key to integrating it into the design. We believe the material itself is inherently beautiful, and it has biophilic qualities through its striations, which are a kind of rigid pattern but one that also breaks down a little bit and is imperfect—in a good way. That communicates to the eye something very pleasing and natural, even though it’s produced by a robot.” Addressing the irony of using computers and robots to achieve a more natural result, Hereen adds, “It’s interesting because the 3D concrete is machine-made and applied by a robot, but it is also inherently irregular and unpredictable, to a degree that makes it feel like aspects of nature, which aren’t predictable or machined in any sense.”

Another high-end house is planned in Chattanooga, Tennessee, by WATG, an architecture/design/urban planning firm with offices worldwide. In collaboration with Branch Technology, which created the 3D printer for the project, they’ve designed Curve Appeal, a 2,000-square-foot home whose sensual curves form a visually appealing, livable sanctuary that’s at once futuristic and classic. Conceived and begun just prior to the onslaught of the pandemic, the project had already printed most of the components before it was put on hold when everything shut down. The project, soon to be revived, promises to be a game-changer in terms of design and next-generation technology; Branch’s state-ofthe-art robotics can create customized shapes and extreme curvatures while maximizing the efficiency and structural integrity of the building. “The point of all this,” McNeel says, “is to push the acceptance of this material forward and to show it off as far and wide as we can. Because the more accepted this material becomes, and the more experience you have inside it learning not to feel afraid of printed concrete as a material, the more people are going to be out there, innovating and working to get that economy of scale going, allowing the technology to become more and more viable for affordable housing. So House Zero was designed to show off the beauty of the technology as well as its high performance and sustainability.” Adds Heeren, “It was important to take the opportunity that ICON’s technology presented and run with it, doing daring things, knowing that it would go back and inform the other work ICON is doing on affordable housing and disaster relief accommodation.” The potential of 3D-printed housing is thus clear, offering a vision of the immediate future that embraces beauty, livability, economy, and energy-efficiency in housing that can be erected in a fraction of the time that traditional building methods require. It’s unusual to find an all-in-one solution to the complex challenges we face, but 3D-printed construction promises to provide that rare opportunity to tackle weighty problems with a long-term, sustainable, economical solution. R trendmagazineglobal.com

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RENEWED, AT HOME

The upheavals of the past two years are giving rise to fresh trends in interior design

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BY GUSSIE FAUNTLEROY

PHOTOS BY ROBERT RECK

couple of years ago, interior designer Victoria Sanchez of Santa Fe’s Victoria at Home began to notice a strong resurgence of client interest in antiques—what the industry calls “brown furniture”—as well as a return to jewel-toned, floral fabrics. With a busy practice in Santa Fe and on the East Coast, Sanchez is known for keeping her eye on the market and spotting emerging styles. With this shift, however, she guessed there was something more than a casual trend going on. In the midst of a pandemic, she concludes, “We’re all seeking emotional comfort, and these styles are like a memory of your grandparents’ house in the country with a lot of history and antiques, the floor that squeaks, coverlets on the furniture.” The experiences of the past two-and-a-half years have had major reverberations in the interior design field, not the least of which is the greatly increased demand for design help as homeowners remodel to meet changing needs and lifestyle patterns or migrate out of large cities. At the same time, builders, designers, and homeowners have had to deal with an unstable production and shipping environment, often resulting in very long waits for deliveries. Yet even as the pandemic and its restrictions begin to loosen their grip, local designers predict that for this year and beyond, a sense of reordered priorities means some changes are here to stay. Among these: the desire to reestablish and strengthen personal connections with family and friends after endless months of social distancing and Zoom calls. A home’s design and layout can either facilitate or discourage connections, and designers are finding ways to help clients live with those they love in a more interactive way. “There’s no better place to be than sitting in comfortable chairs at a round table, allowing the free exchange of ideas and inspiration in a conversation. Everyone is engaged,” notes Tonia Prestupa, a Santa Fe– based designer for more than 20 years. Prestupa calls on her knowledge of fashion design to incorporate textiles, trim, and tailoring details into her interiors, as well as elements of the Japanese tea ceremony, which she has studied for many years. Through the ceremony’s focus on mindfulness, she has learned that beauty expresses itself “not only through objects themselves but also in their essence and placement. This instills a sense of tranquility in its purest form.” To cope with the shifting priorities and new demands on our living spaces, Smith Interior Design’s Megan Smith and Janen Korth suggest “breaking the rules.” With living room furniture, for example, they encourage ditching the standard arrangement of sofa, coffee table, and two chairs in favor of flexible conversation areas. This could mean four oversized upholstered chairs by the fireplace or around a coffee table, for example, with

Detail: French and French Interiors Opposite: Victoria at Home’s 3,000-square-foot showroom in Pacheco Park contains hand-selected furniture, lighting, and accessories, along with thousands of fabric samples and floor and wall coverings. The showroom is a well-used resource for Santa Fe designers. trendmagazineglobal.com

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“big cushy throw pillows and ottomans or a special antique chair that can turn the space into a private haven,” Korth says. Prestupa is inspired by a sofa whose center section is backless, allowing someone to sit facing either direction, joining conversations in different circles. “All of a sudden it creates a fabulous way to bring people together,” she says. She adds that the traditional low coffee table requires bending down, so why not try smaller tables of an appropriate height that can be moved around as needed? As Sanchez puts it, “We’ve sat on our sofas for two-and-a-half years, and one thing I’ve seen is that clients are less willing to compromise with comfort and livability.” When the pandemic began, its impact was felt first in certain segments of the industry. Heather and Matt French, owners of French and French Interiors, enjoyed a busy practice in hotel and commercial design prior to 2020. That came to a halt once the pandemic hit, and the firm’s business model, based on a showroom and walk-in clients, no longer worked. Pivoting swiftly, the Frenches closed the showroom and opened an office-studio space. As homeowners began lining up to remodel their homes, the couple’s residential business shot up. “In 2021 it was off the charts,” Heather French says. What clients needed first, she explains, was creative thinking about homes that suddenly were required to accommodate multiple func-

From an old New Mexico family, Victoria Sanchez grew up in Northern Virginia, where her father’s hobby was buying and restoring buildings. On Saturdays he took her along, explaining aspects of remodeling and fueling a passion for her future career. Sanchez earned a BA and MA in interior design and for many years ran a large, successful design firm and showroom in Old Town Alexandria, Virginia. She now lives and works in Santa Fe while also retaining an East Coast clientele. Right: Victoria at Home showroom Opposite: Janen Korth and Megan Smith of Smith Interior Design. The third Smith sister, Robin, works in the firm’s Scottdale design studio. Ninth-generation New Mexicans, the sisters draw on a design sense “from deep within authentic New Mexico culture,” as Korth puts it.

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tions: homeschooling kids, working from home, carving out some workout space, eating in. Guest rooms could be repurposed as offices, while home exercise equipment could be camouflaged or hidden away in ingenious ways. Innovative furniture can help as well; Heather recalls a custom desk she saw in a House Beautiful showhouse where the desk legs were sturdy blocks that could be easily disassembled and converted into exercise steps. Some clients working from home for the first time wanted private nooks or a room with closable doors. “We’re seeing fewer wide-open interiors, lessons learned from parents working from home and kids doing school by Zoom,” Sanchez says. Many homeowners without children, on the other hand, were ready to ditch the office/cubby concept and set up a workspace at the kitchen island or in other open areas amidst the relaxing beauty of their home. Migration from large cities is nothing new to Santa Fe, as its quieter pace and merging of architecture and art from Native, Spanish Colonial, and European-American cultures have drawn people for centuries. But the pace has quickened over the past two years. Smith

Interior Design’s clientele today is cosmopolitan, yet more than ever seeking escape from the crowding and stress of the city. “We call it ‘suits to cowboy boots.’ They’re looking for the laid-back lifestyle but still want an elegant, artful, peaceful place. Santa Fe has that vernacular,” Korth says. Whether within the comfort of Santa Fe or elsewhere, clients want their home to feel like a safe haven. Even at this point in the pandemic, Korth says, there’s still a “strong trend toward nesting and cocooning.” Today, as clients look ahead to society’s “new normal,” some trends that gained traction over the past couple of years are likely to endure, local designers say. One is the value and popularity of performance fabrics, whose effectiveness was mightily tested when everyone, kids and pets included, spent so much time inside. Durable, easy-to-clean fabrics for upholstery and rugs have come a long way since the days of outdoor-use materials in a few basic colors or stripes. This almostindestructible quality can be built into a range of high-end materials including velvet, linen, and mohair, with elegant touches such as tassel trims, a variety of colors and patterns, and woven bouclé. trendmagazineglobal.com

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Top and opposite: Smith Interior Design’s newly opened “modern mercantile” design space in a historic former Santa Fe home. Maison Smith offers Belgian linens, textiles, leathers, Verellen upholstery, and antique Spanish Colonial items from collector Samuel Saunders. “We want all the senses to be sparked—visual, tactile, smell, sound, light, and mood,” Megan Smith says of clients’ experience in the space. Right: Tonia Prestupa, a Santa Fe–based designer for more than 20 years, runs the design studio at Maison Smith. Her involvement with the restoration of the historic San Estevan del Rey Mission Church at Acoma Pueblo in the 1990s gave her “an appreciation of earthen architecture and local artisans for special finishes and interior architectural details,” she says.

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The dining room at Maison Smith features a dining table created with simple flair from a 200-year-old Sabino Mexican cypress wood slab, Belgian linen table settings, a functional pottery line, and traditional Japanese ceramic dinnerware. “We could not be happier with the reclaimed French oak wine barrel inner-staves that were compressed and repurposed into cutting/serving boards,” Megan Smith says. The painting is by Santa Fe artist Karen Earle-Brown.

French remembers one client who had three kids, dogs, birds, and cats. In the living room was a beautiful tufted ottoman made of high-performance mohair. After climbing onto the roof to patch a leak one day, the husband sat down and put his feet up on the ottoman—with tar still on his boots. “I had sworn to the wife that this was great fabric,” French says. “And she just cleaned it right up.” Bringing the outdoors inside—in less literal ways—has long been a central element in New Mexico homes, and this preference has been further strengthened by the pandemic. Integrated indoor/outdoor spaces include large windows with less-fussy window treatments to allow in more light, fully outfitted outdoor living areas, and the use of similar colors and upholstery on both indoor and outdoor furniture. “Clients want to be able to seamlessly walk out onto the portal to enjoy the view 168

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with a glass of wine,” notes Korth. Colors in general, both indoors and out, moved several notches up the cheerfulness scale from the once ubiquitous gray. Another thing clients increasingly demand, and which designers predict will also be a lasting trend, is the use of sustainable, non-toxic, and eco-friendly materials and manufacturing processes. And with the unreliability of production capacity and long delivery waits caused by supply-chain snafus, the focus has shifted to local and domestically made furnishings and accessories. “We learned a hard lesson with COVID, with everything made in China and sitting on docks in containers, not unloaded,” Sanchez says. She carries a number of lines of American-made upholstery and furniture. Santa Fe designers have actually been aligned with this approach

Heather French studied and worked in Oriental medicine before turning to her true passion. She signed on with established firms and learned interior design from the ground up. Matt French, an electrician prior to opening French and French with his wife, has designed a line of lighting for the firm. French and French has clients around the country, and in 2020 the firm was invited to take part in that year’s House Beautiful Next Wave Designers show house, where they freely expressed their spirited, eclectic style. trendmagazineglobal.com

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Almost 20 years ago, Heather and Matt French settled on ten acres near Madrid, New Mexico. Their distinctive design look is marked by bold use of pattern and color, including ochers and greens inspired by hikes near their home. This page: For an Albuquerque home’s powder room remodel, the Frenches contrasted dark and light. Dramatic wallpaper is offset by white Carrera marble and window light.

for decades, incorporating local art and artisan-crafted items, including elements in hand-forged iron, reclaimed wood, Spanish Colonial antiques, and Native pottery and rugs. Many of these objects have been around for centuries and will outlast future social changes or passing trends. As Prestupa puts it, “The provenance of a quality piece, its story, the history of the time it was made, and the artistry involved bring with it an uncontrived consciousness, a quality reflecting the combination of sophistication and indigenous techniques.” The bottom line, she adds, is “to bring out an authentic experience for clients in their space.” Heather French concurs. Her approach to design was greatly influenced by the time she spent in Nepal as a student of medical anthropology. In remote villages where almost nothing could be purchased new, she says, she was struck by how handcrafted objects were valued and handed down through generations. With many of the “new trends” thus incorporating qualities and styles that have long been part of Santa Fe’s distinctive aesthetic, local designers are well placed to lead the nationwide movement toward design that reflects and accommodates rapid social change. R 170

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AMADEUS LEITNER (2)

Opposite: A major kitchen remodel by French and French brings in a feeling of outdoors with green glass tile, a Cambria quartz island top whose design suggests meandering waterways, and light from large glass doors.

AMADEUS LEITNER

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of Design, going on to work alongside many of the world’s most renowned architects. “I was fortunate to learn about building and design through theory, art history, engineering, construction, and how to merge creativity with function,” Martinez says. This led to accolades for her construction oversight in such high-profile projects as Spaceport America. Today Martinez is inspired by New Mexico’s blue sky and landscape to help clients build timeless spaces filled by light, shape, and color. “Imagination and functionality must merge for architecture to become art,” she says. “Architecture blended with construction should be a craft of expansive possibilities.”

3201-C Zafarano Dr. #111 | Santa Fe | bconstructiv.com | 505-470-7888 trendmagazineglobal.com

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Tunes

BY JANNA LOPEZ | PHOTOS BY DANIEL QUAT

t r a e H t a d n u So

A Santa Fe couple works to ensure the city remains a vital live music destination

usy McCarroll and Baird Banner have been instrumental players in Santa Fe’s music scene since they first arrived in the city in the early 1970s. McCarroll is a vocalist, guitarist, and songwriter, Banner a drummer and recording engineer, and they met during a chance encounter at the now-defunct Music of the Spheres, musician Jay Feldman’s vintage stringed instrument store. “I thought, ‘What’s she doing here?’” Banner says. “She was like a tropical flower in a desert. She smiled at me, and that smile led to a friendship, which blossomed into a musical part-

nership, and then ultimately love. Meeting and falling in love with Busy was the best thing that ever happened to me.” For years the couple sang and played at venues throughout Northern New Mexico. “There were places created specifically for live music performance,” McCarroll says. “We would finish playing at The Line Camp in Pojoaque, then set up and play until 4 a.m. at an after-hours club on Guadalupe. We had fun . . . there was a lot of partying.” Banner agrees that it was a golden era for live music in the region. “I saw thousands

of people go through the Golden Inn on Highway 14 in the ’70s. I worked with Taj Mahal at the packed Old Martínez Hall in Taos. There were large block dances on Canyon Road. The Golden Inn hosted three bands on weekends.” The couple is grateful for those opportunities and those memories, as well as for an enduring partnership that includes not just their marriage and daughter (likewise musically accomplished) but Busy McCarroll and Baird Banner at Kludgit Sound, the recording studio they founded in 1976 in a former 1800s opera house in Los Cerrillos. trendmagazineglobal.com

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also their ongoing dedication to protecting Santa Fe’s musical legacy via education, advocacy, and mentoring. McCarroll certainly lives up to the moniker given to her as a child growing up in Torrance, California. “My birthname is Mary Elizabeth, but my family called me Mary Liz,” she says. “I never sat still for long. I was always off exploring, so they said, ‘there goes Busy Lizzie.’ I’ve lived up to it. I’m always involved with a lot of things at once.” In addition to having fronted several local bands, including Busy y Los Big Deals, Busy & The Crazy 88, and SOULed Out, she also sings with the High Hippy Associates, and The Queen and I. McCarroll is also a New Mexico Music Commissioner that consists of a cross section of New Mexico Musicians and Music advocates. In addition, she’s an instructor for The Thunderstorm Singing/Songwriting Club, which started eight years ago at Turquoise

Banner is known by musicians nationwide for his pitch-perfect recording, engineering, and production skills. But while sound engineering is Banner’s specialty, he is at heart a percussionist. He says he is continually “learning how to play the drums.”

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Trail Elementary Charter School. She also gives individual vocal lessons. Banner’s impressive list of musical achievements has its roots in his childhood, which was spent in various places throughout the world due to his father’s work. As the son of television writer, producer, and director Bob Banner, who

worked on such iconic shows as The Carol Burnett Show, Candid Camera, Solid Gold, Star Search, and Showtime at the Apollo, Banner became captivated at an early age by sound production. In addition to working as a studio and performance drummer in numerous bands and for individual artists, mastering sound through engineering is Banner’s unquestionable gift. In 1976 he founded the famed music studio Kludgit Sound in a former Los Cerrillos opera house. Built in the 1800s from limestone from a local quarry, it served as a performance space where Liliy Langtree and Sarah Bernhart performed in the early 1900’s. Baird and McCarroll renovated the space into one of the first multitrack studios in New Mexico, and it quickly became—and remains—a favorite recording spot with musicians from around the world thanks to Banner’s technical and creative direction. “Over the decades, our studio’s gone through all the technical upgrades and multitrack machines,” says Banner, who uses a range of analog and digital equipment in the recording process. “We’ve been through the evolutions most places

Many of the couple’s business relationships have turned into personal ones, including with musician and vintage-style hatmaker Charlie Overbey, who is not just a neighbor and recording-studio client but also a friend; he loaned McCarroll two of his hats for these photos.

have gone through, yet we still have equipment from the original studio.” Their client list includes Dave Grusin, Roger Miller, Kip Winger, Dennis Hopper, The Grandmothers of Invention (members of Frank Zappa’s Mothers of Invention band), Robbie Robertson, Tony Hymas, Bow Wow Wow, Ollie O’Shea, Val Kilmer, Cameo, Lumbre del Sol, and Eliza Gilkyson, to name a few. Banner’s expertise is in demand in other ways as well. “I kept getting calls from people to help them with things they saw I’d done at our studio,” he says. To meet the demand, he and a partner founded VAST Technologies, which not only installs sound, lighting, PA, and acous-

tic systems for various venues, but also helps set up recording studios. The couple is also active in a number of musical advocacy initiatives, which not even the pandemic could hamper. For instance, when funding for her position as instructor at Turquoise Trail Elementary School ran out, she and her students kept it going online. “Parents lost work, everything was shut down, so I did the class for free for a year.” McCarroll says the music was healing and helped students, teachers, and families find purpose through an uncertain time.” But there were some restrictions that were impossible to navigate. “A lot of venues suffered over the last few years,” trendmagazineglobal.com

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McCarroll and Banner play in their Cerrillos studio.

Banner says about the shutdowns. Still, he and his wife are cautiously optimistic. “It’s all about making music in our community, so that’s what we’re focusing on,” Banner says. “If Santa Feans can help rejuvenate and nurture music’s vital environment the way we have for other arts, it will become an even stronger and more well-rounded community.” The couple is also focusing on improving working conditions, wages, and policies for New Mexico’s musicians. “Venues should 182

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be required to have regulations set in place on how musicians are treated regarding pay, setup, safety, parking, loading—all of that,” McCarroll says. “Inconsistencies can prey on musicians, because in the end, all we really want to do is play. We don’t want to lose a gig. Connecting with audiences is our passion.” But musicians should know their worth. “Many will play for nothing,” she continues. “As a young artist in my 20s that was my experience, too, until another musician took me under his wing. He taught me

how to navigate the business and how to stand up for what I and my music deserve.” It’s important to the couple that their legacy includes not only their work as musicians and technicians but also as teachers and advocates who work hard to improve conditions and chances for Santa Fe’s musicians and music community. “Music’s the one thing that, no matter what, brings us together,” McCarroll says. “When all else goes wrong, music remains a constant.” R

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Passion of the Palate NEW MEXICO’S CULINARY INSPIRATION

Clockwise from top left: A trio of small plates from Liu Liu Liu that include popcorn chicken, a popular Taiwanese night market dish made with fried Thai basil, truffle salt, white truffle oil, and shaved Perigord truffle; swordfish with chayote, beets, Pernod velouté, and absinthe essence; chicken liver mousse topped with sage and fry bread served with New Mexico red chile and taro honey PHOTOS BY KATE RUSSELL trendmagazineglobal.com

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Down the Hatch

hile artists, photographers, and writers may come to New Mexico for the light, the landscape, or the solitude, many other visitors unapologetically acknowledge that they come to the Land of Enchantment to eat. Santa Fe in particular is a foodie’s paradise with a range of options, from quick and tasty to fine dining to everything in between. On one end of the spectrum there are food trucks dishing up tacos, tapas, Native American, Thai, sushi, barbecue, ice cream, and handcrafted donuts. At the other end, there are upscale, reservations-required establishments focusing on locally sourced, organic, farm-to-table fare. Historically, women have been told that their place is in the kitchen. Yet the restaurant industry has long been dominated by male chefs—only a quarter of chefs are female. However, this demographic is shifting both nationally and in Santa Fe. In this issue’s Passion of the Palate, we introduce you to the women at the helm of three Santa Fe eateries: one overseeing the kitchen at a decades-long fixture in the heart of the Plaza, the other two relatively recent transplants. They are each a welcome addition to an exciting and eclectic culinary scene. More good news: Santa Fe’s dining landscape changed dramatically in July of 2021, when the state legislature’s revamping of New Mexico’s archaic liquor laws went into effect. Instead of a system of privately owned and transferred licenses, which could sell for up to a half-million dollars each, the state now issues full licenses for $10,000 per year. This is a game changer. Not only does it mean that dining establishments can now afford to offer more than just beer and wine, it also opens the door for creative mixologists to peddle their spirited talents in an expanded market. As a longtime owner and executive chef of a venerable Santa Fe restaurant exclaims, “It’s hard not to stand in the middle of the café, ring a large bell, and shout ‘At last!’ every time a grateful patron is served a prickly pear margarita or blood orange martini.” R

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g n i s i a R e Bar th

Laurel Hunziker, beverage director at Altar Spirits, describes her beet-red cocktail, the Russian Doll, as “borscht with a buzz, where dirt meets the ocean.” Opposite: Dakota Weiss, executive chef at Coyote Café, prepares crispy branzino (European bass) made with forbidden rice, pickled shimeji mushrooms, shiso, and coconut broth.

The art and craft of cocktail culture

Passion of thePalate

BY CYNDY TANNER | PHOTOS BY KATE RUSSELL

nglish playwright Noël Coward once quipped, “A perfect martini should be made by filling a glass with gin, then waving it in the general direction of Italy.” The current trend in craft cocktails is a distinct departure from that attitude. It’s not hard to splash gin and vermouth in a glass and call it a martini, but true craft cocktails are much more complex. They are made with skill, care, the finest ingredients, and considerable attention to presentation. It can be cost-prohibitive to invest in the number of base spirits, specialty liqueurs, syrups, and fresh ingredients needed for a fully stocked home bar. Instead, let the experts at your favorite bar or restaurant do the mixing. It’s not only more economical, but also a fun and communal way to try new concoctions, sip leisurely, and appreciate the nuances of your drink. Laurel Hunziker is the beverage manager at Altar Spirits Distillery, but the title “spirited alchemist” might better describe her role. She finds inspiration in just about everything, including books, colors, and the feelings evoked by the seasons. Even friends and family members have sparked her imagination. Intrigued by the transformation of simple grains and botanicals into spirits, she describes the process as a “conduit

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bridging the ethereal world with purely physical pleasures.” She views her creations as alchemical “medicine” and strives to make them as great a delight to the eye as they are to the palate. Anna Marie Apodaca, bar manager at the Secreto Lounge at Hotel St. Francis, says we eat and drink with our eyes first. That’s why she loves observing her customers’ reactions when they take their first sip of one of her cocktails. Her skills grew exponentially during the pandemic, when she moved back home to Stanley, New Mexico, where she grew up. Once again on the family farm, she embarked on a daily ritual of creating a new signature craft cocktail at sundown. Experimenting with herbs and flowers from the garden and fruit from the orchards, she made strawberry-mint syrups for mojitos, cherry-based cocktails, and apple-infused drinks garnished with dehydrated, cinnamon-

dusted apple pieces. Apodaca’s mother sampled every creation, offering constructive criticism and protesting only slightly about the garden’s slowly dwindling bounty. At Opuntia Café, general manager and bar director Chris Romero—with his three-week-old son an arm’s length away—politely obliged our photo shoot by whipping up the hi-Bliss-cus, a gin-based cocktail of his own creation that is infused with hibiscus leaf and served in a stemmed glass known as a Nick & Nora. Part of the delight of ordering a craft cocktail is the showmanship involved in the preparation, and Romero doesn’t disappoint. In his skilled hands, zesting a lemon, foaming an egg white, performing a “triple shake” and then pouring the mixture into the glass are as beautiful and precise as well-executed gymnastic moves.

Anna Marie Apodaca, bar manager at Secreto, singes a nopal cactus leaf as garnish for her Prickly Diva cocktail, a warm-weather patio-pounder made with Malfy gin infused with cactus, prickly-pear syrup, fresh lemon juice, yellow Chartreuse, Lillet Blanc, and Burlesque bitters, garnished with dehydrated lemon and candied cactus. Opposite: Chris Romero, general manager and beverage director at Opuntia Café, pours his hi-Bliss-cus, a tart, blushpink concoction with hibiscus tea–infused Altar gin, fresh lemon juice, rosewater, honey, and whipped egg white. trendmagazineglobal.com

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An Altar Spirits Spring Sour cocktail tastes like honey straight from the beehive, with Altar Spirits’ distilled Sigil gin and in-house floral tincture composed of linden flowers and leaves, chamomile, tulsi (holy basil), and rose-infused honey syrup. Opposite: Marcus Difilippo, distiller and back-of-house manager at Altar Spirits, with beverage director Laurel Hunziker

Romero extensively researches the history of traditional cocktails and then creates riffs on those classics depending on the season. In winter he incorporates spices such as cinnamon and cloves into whiskey, cognac, and other warm spirits. Agave forms the basis for his summer cocktails. Since Opuntia is known for specialty drinks that draw on a curated selection of loose-leaf teas and infused teas, Romero also intends to develop more tea-infused craft cocktails for the bar menu. Exploring new flavor profiles is just one reason to belly up to the bar. Social contact, especially welcome as we emerge from pandemic isolation, is another. “The culture of craft cocktails encourages camaraderie and conviviality,” Romero says. Sure, we can all mix a cocktail at home, but we miss out on seeing what the table next to us has ordered or on striking up a conversation with the person sitting beside us at the bar. Ultimately, cocktail culture connects us to the most important spirit of all—the human spirit. R trendmagazineglobal.com

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New Frontiers Three chefs rev Santa Fe’s culinary engine

BY ESTHER TSENG | PHOTOS BY KATE RUSSELL

anta Fe restaurants offer back to Santa Fe to take the job and some of the most excitbe closer to family. (She is also now ing culinary experiences in remission.) in the Southwest. And Stepping into the role of executive that’s due in no small part chef at Coyote Cafe was by no means to the women at the helm an easy choice. Weiss estimates of three of them: a mainstay legacy that diners are evenly distributed restaurant, a groundbreaking modern between locals and tourists throughsteakhouse, and a Taiwanese-inspired, out the year, which meant she had small-plates speakeasy. Each of these to be careful to leave longtime favorchefs brings experience and expertise ites, like the signature lobster and from her own walk of life while drawing elk dishes, in place while also putinspiration from the city’s freewheeling ting her own touch on the menu. sensibility and close-knit vibe. “I thought,” she says, “how do you Dakota Weiss, executive chef since make Southwestern food modern? June 2021 at the longstanding Coyote So, I tried to plate with some negaCafe, is no stranger to working at the tive space. Also, my overall cuisine 35-year-old restaurant—nor to living is [eclectic] because I’ve worked in so in Santa Fe. In addition to attending many different places with so many junior high and high school here, mentors. I have a strong Asian and she came back to do her externship French background in food, so I at Coyote Cafe after graduating from blended them together, but without the American Culinary Institute in making it ‘fusion’.” Scottsdale, Arizona, in 1997. “I thought, Weiss also introduced more seaI’ve got to go work there; it’s such a cool food dishes, a decision that initially Liu Liu Liu chef/owner Elizabeth Blankstein. In the photo opposite, she is holding a dish of place,” she says. “It was one of the first was met with some resistance. Even Taiwanese-style sticky rice with shiitake mushrooms, open kitchens in America. Mark Miller her former boss, Mark Miller, happork belly, and dried shrimp wrapped in lotus leaf. was ahead of the game on that one.” pened to come in one day and was After leaving Coyote as a young chef surprised to see that Weiss had in 1999, Weiss had stints at restaurants in Dallas, Atlanta, Sarasota, added a posole to the menu—with mussels. He balked, but she and Philadelphia before decamping to Los Angeles, where she assured him she was shipping in fresh mollusks daily. “Santa spent most of her culinary career. She was executive chef at the Fe is definitely full of meat-eaters who like hearty food,” Weiss Ritz-Carlton in Marina del Rey and the W Hotel in Westwood, and concedes. “But the lighter dishes and fish have been kind of fun she became a reality cooking competition star thanks to an appearand people are responding well to them.” ance on Bravo’s Top Chef Texas in 2011. It was also in LA where she When it comes to steak, Kathleen Crook is committed to sourccofounded Sweetfin, a poke restaurant that ultimately expanded to ing only the best quality beef available. She knows her meat, hav12 locations. ing grown up on a ranch in Artesia, three-and-a-half hours south But it was the pandemic—and a breast cancer diagnosis—that of Santa Fe. She became involved in rodeo competitions at age made Weiss reevaluate her priorities. After learning from owner 11, where she won a slew of awards and ended up attending colQuinn Stephenson that Coyote Cafe was looking for an executive lege on a rodeo scholarship. Ultimately, however, ranch life was chef, she realized that she was done living in LA. She moved not what she wanted. She realized that her passion was cooking. trendmagazineglobal.com

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Kathleen Crook (left), chef and co-owner with her partner and wife, Kristina Goode, of Market Steer. Opposite: One of Crook’s signature dishes, two lobster tails that are butter-poached and served with fried black rice and pickled Fresno peppers

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In June 2021 Dakota Weiss came full circle: she did her externship at Coyote Cafe after graduating culinary school and now she’s their executive chef, crafting the kind of inventive cuisine for which the restaurant has been known for more than three decades. Opposite: A close-up of the crispy branzino

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The mussels posole at Coyote Cafe, one of the first dishes Weiss added to the menu when she came on board 198

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“My grandmother was a caterer, and I always found myself drawn to the kitchen,” she says. In 2003, at the age of 26, she sold her horses, her truck, her trailer, and her saddle and applied to the American Culinary Institute in Scottsdale after learning about it on an infomercial. She was in school a month and a half later. After graduation, she went to work for Tom Fleming at Old Hickory Steakhouse inside the Gaylord Texan Resort in Grapevine, Texas, before working for him at Central 214 at the Kimpton Hotel Palomar. She has also worked for Mickie Crockett of Front Burner Restaurants, Gilbert Garza of Suze, and Marc Cassel of 20 Feet Seafood Joint and Park. Crook’s tenure at these steak and seafood restaurants expanded her expertise in American cuisine and informed her next moves. It was at Park where Crook met her future wife and now-business partner, Kristina Goode, who was a server there. Together, in 2011, they moved to Aspen, Colorado, to open Steakhouse 316. While there, Crook received national recognition as a top chef by Best Chefs America and was featured on Season 2 of the Cooking Channel’s Chuck’s Eat the Street. In 2014, Crook opened Grey Lady, for which she flew in seafood from the East Coast via purveyors she still uses today. Four years later, Crook and Goode decided they were done with Colorado winters and settled in Santa Fe, opening Market Steer in 2018, the name an homage to her ranching heritage. “I raised true steers in 4-H and FFA,” Crook says. “Those steers? They were ready to go to market. That’s how we got the name of the restaurant.” Market Steer is the only steakhouse in New Mexico to serve prime grade beef, but of course quality has its costs. Their 13-ounce New Mexico–raised Wagyu ribeye runs $85, but that’s not something available from the commodity market. Crook buys her product exclusively from co-ops made up of smaller boutique ranches, which means there are no growth hormones or antibiotics in the meat. “We want to pass the quality along to the guests,” Crook says, pointing out that only two percent of producers will grade their product as prime. “It’s a very small, niche market.” Elizabeth Blankstein and her husband, Cameron Markham, have carved out their own niche in the city’s culinary scene. When the pandemic hit, the couple was getting ready to put a deposit down to rent a wedding venue in Orange County, California. Both had spent years working in development for the most well-known restaurants and restaurant groups there and in Los Angeles, including Wally’s, Animal, and Patina. But they were ready to leave the city life and start something all their own. Markham had grown up in Santa Fe, knew the lay of the land, and suggested to Blankstein that they use their wedding deposit money to move here to open up a Taiwanese restaurant. Blankstein, who was born in Taiwan and moved to the States when she was 11 (her last name is from her stepfather, who raised her), had grown up with the cuisine and introduced Markham

to it. He had fallen in love with it, but she was surprised that he thought Santa Feans would find it palatable. The result is Liu Liu Liu (a Mandarin phrase meaning “lucky,” “easy-going,” and “wealth”), a small-plate restaurant with a bigcity vibe. It bills itself as a bit of a speakeasy, purposely tucked into a strip mall on St. Michael’s Drive, a small sign on one of the windows the only clue to what’s inside. And, instead of jazz, loud rock music livens up the atmosphere while French, Californian, and Santa Fean inf luences put an inventive spin on its Taiwanese cuisine. While there’s traditional beef noodle soup on the menu made from Blankstein’s mom’s recipe, their popcorn chicken is infused with truffle oil and truffle salt. The goat is the result of a collaboration with their Salvadoran district manager, Edgar Mejía, and uses traditional seasonings like cayenne, oregano, and bay leaf to give the dish its spicy kick. The chefs deliver most of the small plates to the tables personally. “When we bring a dish to the table, we talk about what’s going on in the dish, what all the sauces are,” Blankstein explains. “We do this with every single table.” Both Blankstein and Markham are sommeliers, so not only is their wine list carefully curated but all of the half dozen or so bottles are also available by the glass because they use Coravin resealers. The soda selection hails from all over the world, including Taiwan and Cuba. Markham also brings his water sommelier experience from Patina, so there are six or seven different waters from around the world on the menu at any given time. The restaurant serves as a barometer for the city’s evolving dining scene, its tables filled with a mix of longtime Santa Feans, recently settled ones, and out-of-town visitors. “There will be times when we realize that the entire restaurant is from California,” Blankstein says. “Someone will say, ‘I just moved here six months ago,’ and someone at another table might say they moved here eight months ago. Tables with people from San Francisco might be sitting next to each other. A lot of guests have said that our restaurant reminds them of wherever they came from—LA, Chicago, or New York—because the vibe is familiar.” It’s safe to say that Blankstein can definitely call New Mexico home now, as her creativity expands elsewhere. Her newest venture, Blood Sausage, opened in Albuquerque in March. References to Michael Myers and Jason amid dark red lighting and 1980s-era rock ’n’ roll music evoke a retro horror movie theme at the restaurant as they serve different blood sausages with recipes originating from all over the world. Whether they’re retooling the menu of a longtime favorite restaurant, serving prime-grade ingredients from small ranchers, or interpreting a traditional cuisine for an entirely new audience, each of these three chefs executes her vision with precision and care, mixing years of experience in the nation’s best kitchens with an appreciation for the laid-back sensibility that draws people to the City Different. R trendmagazineglobal.com

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EL NIDO | SU prepared and cooked on an Argentine wood-fired grill. About 80

mark for over 80 years, and its rich history reads

percent of dishes are cooked this way, using cast iron pans, with

like fiction. During WWII, Manhattan Project scientists

pecan and oak logs for added flavor. A rare, wood-fired oven

exchanged secrets on the dance floor. In the 1960s and ’70s,

imported from Italy is also used for many dishes, including pizza

flamenco dancers Vicente Romero and María Benitez graced

and fish.

El Nido’s stage nightly, and murals were painted by renowned artist Will Shuster.

The menu features the freshest ingredients and is designed to appeal to everyone. “People can sit at the bar and have a burger

When the owners remodeled this 7,700-square-foot adobe,

and a craft cocktail, or relax over a more refined meal,” says Rob-

their goal was to embrace its history while providing an updated

ert Bowdon, one of the co-owners. “We just want everyone to

presence. The kitchen is open, and visitors can watch food being

feel welcome here.”

elnidosantafe.com | 1577 Bishops Lodge Rd | Santa Fe 87506 | 505-954-1272 200

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GABRIELLA MARKS

l Nido restaurant in Tesuque has been a popular land-

GABRIELLA MARKS

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EL NIDO | SU miso soup, edamame, and seaweed salad as side dishes. The

sushi restaurant with seating for just 20 people is

omakase is Hattori’s nightly tasting, for which reservations

part of—but separate from—El Nido. This summer, a

are required.

turn-of-the-century door, previously plastered closed, will be reopened to serve as a direct entrance into the sushi bar.

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Everything at SU is crafted using the finest ingredients. Fresh, wild-caught fish from Japan, Hawaii, and California is flown in

Chef Masayuki Hattori is a skilled and experienced culinary

daily, and the blend of brown and white rice is organic. In addition,

craftsman. Instead of a set menu, SU offers omakase and à

SU offers a unique selection of Japanese crafted cocktails, sake,

la carte menus. On the à la carte menu, diners can choose

beer, and Shōchū. At SU, Japanese fine dining is a close-to-home,

between sashimi, nigiri, or the day’s offerings of rolls, with

intimate experience.

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PETER OGILVIE

“T

he Nest,” or SU in Japanese, is a hidden gem. The

GABRIELLA MARKS

elnidosantafe.com | 1577 Bishops Lodge Rd | Santa Fe 87506 | 505-954-1272 trendmagazineglobal.com

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saveur means taste, and the name says it all

After 19 years, Saveur is still going strong. With 51 years in the restaurant business, our work is our passion and we love our community.

Saveur Bistro

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ROBERT MESA

WELDON’S MUSEUM HILL CAFÉ

eldon’s museum Hill Café is a favorite destination for locals and tourists alike. Situated on the upper level of Milner Plaza, with a spacious patio and hundred-mile views, and surrounded by four distinctive, world-class museums, it has established itself as a place of casual refinement.

The menu changes with the seasons and features a range of items to satisfy all tastes, from meat and fish dishes to vegetarian and vegan options. Fresh salmon is flown in daily, and food is sourced locally when possible. There is also a good selection of local beers and an excellent wine list. The restaurant is primarily known as a lunch venue, with evenings reserved for private parties, but dinner is added every Friday night during the summer, from June through September, and early reservations are advised. “People regularly comment on how flavorful our food is,” says owner Weldon Fulton, “and plates come back clean, which is really the best compliment we could wish for.”

museumhillcafe.net | 710 Camino Lejo | Santa Fe 87505 | 505-984-8900 trendmagazineglobal.com

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you have your plaza, we have ours

Paws Plaza is your dog’s home away from home. From daycare to grooming to training to lodging, we offer the very best to all our clients, four-legged and two-legged alike. We are so proud of the luxury space we have created for the dogs of Santa Fe. Our team of trainers, care takers, and groomers is skilled in modern, dog-friendly management and behavior modification. Come by, take a tour, and see our 10,000 square foot facility, including our elevated platforms, swimming pools, agility playground, and sleepover suite!

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lodging daycare training grooming Saturday: 8am–7pm paws-plaza.com 1416 4th St, Santa Fe

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ANTIQUES, FURNISHINGS, RUGS & GARDENING

Bosshard 505-685-0061.....................................................................61 Double M / Mattress Mary’s Taos Lifestyle taoslifestyle.com; 575-758-5885....................78–79, 144–145 Maison Smith maisonsmith.us; 505-467-8054..........................................27

Sleep & Dream Luxury Bed Store mysleepanddream.com; 505-988-9195............................174 Victoria at Home victoriaathome.com; 505-365-2687.........................160–161 Violante & Rochford Interiors vrinteriors.com; 505-983-3912.........................................2–3

Jim Woodson jimwoodsonart.com; 505-929-7489...................................63 Kay Contemporary Art / Kevin Box Studio kaycontemporaryart.com; 505-365-3992...........................15 La Mesa of Santa Fe / Christopher Thomson Ironworks lamesaofsantafe.com; 505-984-1688.................................71

ARCHITECTS & DESIGNERS

Manitou Galleries / Ethelinda manitougalleries.com; 505-986-0440 / 505-986-9833...............................................................18–19

Annie O’Carroll annieocarroll.com; 505-983-7055.....................................160

Mary Stratton marystrattonart.com; 575-770-0760..................................77

Archeo Architects archaeoarchitects.com; 505-820-7200.............................160

Niman Fine Art / Dan Namingha namingha.com; 505-988-5091.............................................7

Lisa D. Martinez / B Constructive LLC bconstructiv.com; 505-470-7888.............................172–173 Max Vasher Architect maxvasherarchitect.com; 505-615-0696...........................29 Michael Austin Wright michaelaustinwright.com; 505-577-2988...........................58 Santa Fe By Design santafebydesign.com; 505-988-4111...............................160 Tierra Concepts tierraconceptssantafe.com; 505-989-8484.......................160 Violante & Rochford Interiors vrinteriors.com; 505-983-3912.........................................2–3

Patina Gallery patina-gallery.com; 505-986-3432.....................................33 Patricia Carlisle Fine Art / David Pearson carlislefa.com; 505-820-0596..............................................6 Pop Gallery popsantafe.com; 505-820-0788.........................................73 Prescott Gallery & Sculpture Garden prescottstudio.com; 505-983-0577 / 505-424-8449..........28 Ron Larimore larimore.faso.com; 575-770-4462.........................................83

Woods Design Builders woodsbuilders.com; 505-988-2413..................................IFC

Santa Fe Trails Fine Art santafetrailsfineart.com; 505-983-7027...........................177

ARTISTS & GALLERIES

Somers Randolph somersrandolph.com; sculptr@aol.com........................53–55

August Muth pieprojects.org...................................................................62

Stan Berning Studios stanberningstudios.com; 928-460-2611.........................56–57

Aurelia Gallery / Blair Robbins aureliagallery.com; 505-501-2915................................20–21

Ventana Fine Art ventanafineart.com; 505-983-8815..........................4, 42–43

Bill Hester Fine Art / Jane Filer billhesterfineart.com; 505-660-5966..................................BC Blue Gate Gallery / Danielle Procaccio bluegategallery.com; 505-780-8604.............................12–13 Cara Romero Photography cararomerophotography.com.............................................23 Carlos Carulo carloscarulo.com; 505-982-5856 ....................................130

Santa Fe By Design santafebydesign.com; 505-988-4111...............................160 Sound Light Designs soundlightdesigns.com; 505-983-2229............................175 Woods Design Builders woodsbuilders.com; 505-988-2413..................................IFC EDUCATION, MUSEUMS, EVENTS & TOURS Abiquiu Studio Tour / Abiquiu News abiquiuguide.org; abiquiustudiotour.org; abiquiunews.com ..............................................................60 Chianciano Biennale 2022 / Chianciano Art Museum biennalechianciano.org.......................................................22

Open Kitchen openkitchenevents.com; 202-285-9840..........................137 SITE Santa Fe sitesantafe.org; 505-989-1199........................................103 Somers Randolph somersrandolph.com; sculptr@aol.com........................53–55 Turquoise Trail Studio Tour turquoisetrailstudiotour.info...............................................58

EYEWEAR, BEAUTY, HEALTH & PETS

Botwin Eye Group / Oculus Optical oculusbotwineyegroup.com 505-494-1453 / 505-494-1407...........................................14 Eldorado Dental eldoradodental.com; 505·466·0999.................................183 Paws Plaza paws-plaza.com; 505·820-7529.......................................206 Prime My Body ccanyon.primemybody.com; 505-470-6442.....................101 Quintana Optical 505-988-4234....................................................................52 Ten Thousand Waves tenthousandwaves.com; 505-982-9304...........................184

FASHION, JEWELRY & ACCESSORIES

Webster Collection webstersantafe.com; 505-954-9500............................24–25

Faust Gallery faustgallery.com; 480-200-4290.......................................8–9

BUILDERS, LIGHTING, FIXTURES & MATERIALS

The Golden Eye goldeneyesantafe.com; 505-984-0040...............................36

Counter Intelligence ci4usantafe.com; 505-988-4007......................................160

John Rippel U.S.A johnrippel.com; 505-986-9115.............................................5

Custom Window Coverings cwcsantafe.com; 505-820-0511......................................160

Montecristi Custom Hats montecristihats.com; 505-983-9598...................................41

trendmagazineglobal.com

207

ADVERTISERS Nu Peru nuperu.com; 505-470-8284 / 505-819-9189...................................51 Pandora’s pandorasantafe.shop; 505-982-3298............................................158 Patina Gallery patina-gallery.com; 505-986-3432..................................................33 Toko Santa Fe tokosantafe.com; 505-470-4425....................................................35

Webster Collection webstersantafe.com; 505-954-9500........................................24–25

PHOTOGRAPHY

Cara Romero Photography cararomerophotography.com.........................................................23 Jozsua Martinez / 39 Visuals 39visuals.com; 312-288-5931........................................................82 Peter Ogilvie Photography ogilviephoto.com; 505-820-6001..................................................102

PUBLISHING, BOOKS & MARKETING Authorized Biography authorizedbiography.com; 505-501-2915 .................................30–31 Parasol Productions parasolproductions.com; 505-690-2910 .......................................181

REAL ESTATE

Anne & Alan Vorenberg / Sotheby’s International Realty santafebeautifulhomes.com; 505-470-0024 / 505-470-3118...........1 Pacheco Park officespacesantafe.com; 505-660-9939.......................................160 Webster Collection / Sotheby’s International Realty webstersantafe.com; 505-954-9500........................................24–25

RESTAURANTS, FOOD, DRINK & LODGING

Café de Artistes cafedesartistessf.com; 505-820-2535..........................................208 Coyote Cafe coyotecafe.com; 505-983-1615.....................................................17 El Nido / SU elnidosantafe.com; 505-954-1272........................................200–203 Izanami / Ten Thousand Waves tenthousandwaves.com; 505-982-9304.......................................184 Open Kitchen openkitchenevents.com; 202-285-9840.......................................137 Santacafé santacafe.com; 505-984-1788.......................................................16 Saveur Bistro saveurbistro.com; 505-989-4200.................................................204 Weldon’s Museum Hill Café museumhillcafe.net; 505-984-8900..............................................205

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TREND art + design + culture 2022

130-A Lincoln Avenue 505.988.2393 therugmanofsantafe.com

PHOTO BY JANE FILER

Jane Filer Primal Modern

Path of Wonder, acrylic on canvas, 56"x62"

Bill Hester Fine Ar t A Magical Place

613 & 619 Canyon Road Santa Fe, NM 87501 billhester@billhesterfineart.com

BillHesterFineArt.com

(505) 660-5966