ARTSource Arizona - Volume Six

ARTSOURCE
Arizona
VOLUME SIX

Voted Best Gallery in Tucson
Original Paintings • Prints • Sculpture • Southwest Gifts • Ceramics • Jewelry
First Light
Poppies
Tubac Gate
Baboquivari
Hacienda Gate II
Day’s End
After a Good Rain
Diana Madaras and 26 Guest Artists
3035 N. Swan Road, Tucson, AZ 85712
See more than 200 paintings at madaras.com
(520) 615-3001
Red Mile

Serenity , Oil on Canvas , 18"x24" , Framed to 25"x31"
CARSTENS FINE ART STUDIO & GALLERY
COMPOSED PAINTINGS OF REFLECTIVE & REFRACTIVE
LIGHT IN THE ATMOSPHERE EXPRESSING RADIANCE OF THE SPIRIT
Make Life Luminous

FROM THE PUBLISHER
Following a year of uncertainties 2021 has been welcomed
by many because it offers a new chapter. Whether we
found ourselves in one of the more difficult passages or
one of the pleasant ones there are several things that help
us to be grounded – important among these is art.
Art has that capacity because specific genres represent
a welcome zone for us individually. When we are engaged
in seeking it, acquiring it, or are otherwise moved by art
that appeals to us, we are transfixed in appreciation and
sometimes taken to an emotional plane that serves our
personal appetites – our needs or wants.
Whether that creation warms us, titillates us, moves us,
inspires us, engages us, enrages us, or questions us, that
person’s creative offering is going to influence us. That
influence will impact us and the impact will tend to bring
us back again and again.This is more than just a diversion
from the mundane or even unseemly encroachments of
life. It’s a victorious detail in the essence of our intelligent,
sentient existence; it’s a perfume of our being.
This Volume Six of ARTSOURCE is our initial Arizona
statewide edition. While the severity of the viral incursion
could have stunted our growth, enthusiasm for the project
served as wind beneath our wings. Although a bit delayed,
we were nonetheless buoyed and encouraged by the many
incredible Arizona people we’ve met along the road.
I sincerely wish all a happy and successful passage beyond
the shadows of the season and into brighter realities
ahead. Please allow the artists and art venues of Arizona
to make a contribution to those positive realities in
your behalf.
Artful wishes,
Greg Lawson
ON OUR COVER Storm Momentum, 2018, by Ed Mell
Headline Image Sandhill cranes visit in winter and often pepper the sky
ARTSOURCE
Arizona
Greg Lawson
Lynn Alison Trombetta
Kristina Gabrielle
Published by ArtSource Media
2679 West State Route 89A
Sedona, AZ 86336
Volume Six
Publisher
Editor
Art Director
Design elements by Erick Hale Agency
and Nadezda Skocajic
Printed in Arizona, USA
ArtSourceMedia.com
ARTSOURCE Arizona is published twice yearly.
Copyright © 2018-2021 ArtSource Media. All world rights reserved. No part of this
publication may be reproduced, transmitted, transcribed, stored in a retrieval system or
used as a model for any type of reproduction, in any medium, by any means without the
publisher’s prior written permission.The publisher assumes no responsibility for errors
or omissions. Opinions expressed do not necessarily reflect the views of the publisher.

CONTENTS
6
Ed Mell – Horizon to Horizon
12 Ofelia Zepeda – Poet With A Purpose
18 Noteworthy – A Visit to the
Musical Instrument Museum
28 John M. Soderberg – The Bronze Age
34 Toasting the Talent – Patrick Schweiss
36
36 Pash Galbavy – Unmasked
42 Lewis Nash – The Heart
Behind the Beat
50 Fearless Fashion – Special Exhibition
at the Phoenix Art Museum
18
59 Arts in Motion
64 Sedona International Film Festival
70 The Two Lucys – Shondra Jepperson
and Dev Ross
74 Community State of the Arts
76 Chef William Turner
– Southern Migration
82 Thomas A. Philabaum – The Glass
92 Look to the Stars – Astro Photography
Joel Quimpo
42
28
82
92

ED MELL
Horizon to Horizon
By Lynn Alison Trombetta
Artist Ed Mell was born in 1942 in Phoenix, Arizona. Interested in art from an early age, the vibrant desert skies and
the vast terrain of his childhood would eventually call him back after a first career in New York as a commercial
artist.
It was in the summer of 1971 that Mell spent time on the Hopi reservation teaching art to the young. Being in touch with
the land and the spiritual world of the Hopi people convinced him he wanted to become a landscape artist.
6 ARTSOURCE Arizona

Sedona Shadows, 2004
He left New York in 1973 and returned to Phoenix, painting part-time while working as a commercial artist. By 1978 he
followed his dream of becoming a full-time landscape artist.
We can imagine that a three-day helicopter trip to the Colorado Plateau with KPNX-TV news reporter, Jerry Foster in
1979 forever altered Mell’s artistic perspective. That aerial excursion explored the mesas and canyons of wilderness between
Monument Valley and Lake Powell.
ARTSOURCE Arizona
7

Painted Hills, 2018
The horizon-to-horizon drama of those voyages worked their
way into his paintings. He translated his experiences into
dramatic, geometric forms on canvas illuminated with the colors
of the desert southwest. Repeating motifs found in clouds,
lightning, rivers and mountain ranges appear interconnected
with an elemental energy that is palpable.
Mell’s unmistakable style is dimensional, constructed as one
might design an architectural structure. Most notable, on each
canvas Mell seems to capture the mood and essence of a place
so broadly that he remains limitless in his interpretation and
boundless within the viewer’s imagination.
Bend in the Road, 2019
8 ARTSOURCE Arizona

Faith In Nature, 2017
ARTSOURCE
9

Dusk Drive, 2006
For over 35 years he has interpreted the scenery of the west
and was recently honored with a retrospective show and
lifetime achievement award by Desert Caballeros Western
Museum in Wickenburg, Arizona.
Arizona Statehood Stamp, 1912-2012
Nationally and internationally, Ed Mell’s works are held
in many corporate and private collections. In 2012, the
Arizona Centennial Commemorative Arizona Statehood
(Forever®) stamp, celebrating the states 100th anniversary
featured Mell’s portrayal of Cathedral Rock, a colorful
sandstone formation found in Sedona.
10 ARTSOURCE Arizona

The permanent collections of the Phoenix Art
Museum, Tucson Museum of Art and the Denver
Art Museum all feature Mell’s unforgettable work.
Several large-scale pieces have been commissioned
for public works, including an eight and one-half foot
tall bucking bronco, a mural-esque painting for the
visitor’s center of Kartchner Caverns State Park, and
a bronze titled “Rising Phoenix” for Phoenix City
Hall. In 1996 the Northland Press book, “Beyond the
Visible Terrain: The Art of Ed Mell” chronicled his life
as an artist.
Enjoy more of Ed Mell’s work at:
www.EdMellGallery.com. 4
Sunwashed Mesas, 2018
Canyon Floor, 2019
Faith In Nature, 2017
ARTSOURCE Arizona
11

As Director of the American Indian
Language Development Institute (AILDI),
Regents’ Professor of Tohono O’odham
language and linguistics and former Head of
American Indian Studies at the University
of Arizona, Ofelia Zepeda is a languagearts
professional of stature. She has worked
as consultant in behalf of several Native
American languages and is known for her
work in helping to preserve the language
of her ancestry. This acclaimed poet was
responsible for creating the first textbook
in her native tongue in order to teach her
students essentials of the O’odham language.
Though small is the number that speak
O’odham as their first language, estimates
are that some 12,000 people are keeping
the language alive through some degree
of use. Ofelia Zepeda is out in front in
accomplishing this important task.
Let’s learn more from Professor Zepeda
herself.
Ofelia Zepeda
Poet with a Purpose
Please tell us about your history in the
language arts.
My early poetry was accomplished as a
graduate student. The first poems were
only in O’odham. This was largely due to
the fact that I was writing for and with the
language classes I was teaching at the time.
I had writing assignments for the O’odham
students to promote writing, reading and
other elements of language. As they wrote
things, so did I. We collected and shared our
writings, many of which turned out to be
12 ARTSOURCE Arizona

"I have written other similar pieces like this – most of it generated
from walking or sitting in the desert and watching the movements
that occur. I like focusing on a particular sense, as in this case the
sense of smell. Smell is an important sense for humans and animals.
Animals can identify us by smell."
OUR SCENT MAKES US REAL
A strand of hair is left on the spine of saguaro.
It is sticky with the juice of fruit and summer heat.
Hair is abandoned there much like
any discarded body fiber, fur, and feathers.
Others will come by and lift the scent.
Some will be curious and want more
while some will reflex with fear.
All will know we came through
Our scent will tell our story, a story we may
not always be fully conscious of.
Those that pick our scent will help tell our story
and make us real.
ARTSOURCE
Arizona
13

“This piece was part of a photographic project called 'Where Clouds are
Formed.' The project focused on the portion of the U.S./Mexico border
crossing the O’odham reservation.”
NOT THE INTENT OF THIS DESERT
Each tiny blade of creosote leaf has a memory of
the people that have come through.
The sand absorbs the tears, nightmares, sorrows of the walkers.
It muffles their cries.
No one can hear them.
This was never the intent of this desert.
as well working outdoors in all the
changing environments. And like
my family I learned to appreciate the
natural environment. I learned how
to read it, how to appreciate it, how to
fear it. These influences come into my
work.
I write about the natural elements,
about people, about my experiences in
a range of subjects, experiences where
the foundation is based on being
O’odham. For instance, I think of a
poem I wrote about dirt, a common
element, but part of my personal
experience from childhood. Also
how O’odham view and understand
the nuances of dirt make their way
into the poem. Some non-O’odham
readers will identify with some of
these elements too.
what we (in the class) thought came
closest to poetry.
I know too that I modeled my early
writing after traditional O’odham
song forms. O’odham songs are
short and packed with creative use of
language. I also gravitated to many of
the themes that O’odham songs tend
to emphasize. So, initially my writing
was for a small audience, my students,
and their friends.
Is there a distinct flavor to your
writings in the style or content?
I mentioned that an early influence
was traditional O’odham songs. These
songs often revolve around themes of
the natural elements including rain,
wind, clouds, oceans, mountains, light,
or air to mention a few. It is common
for the songs to involve a spiritual
world and spiritual beings and their
experience with these elements. I tend
not to extend into the spiritual realm
with my words. I stay with the human
experience, therefore, my focus on
other elements is more basic and not
other-worldly. At times it is difficult
not to extend to that other world and
other beings.
In my first collections, Ocean Power:
Poems from the Desert, I had a
number of pieces based on topics of
rain; rain in the desert, and all the
things that come with that, including
the formation of clouds, the smell of
rain before and after, the feeling of
wind before and after. From these
pieces I came to the realization that
this stemmed from my rural lifestyle
growing up. My family was like this
Some of my writing has also been
viewed as “teaching poems” – poems
that contain a lesson for the reader.
And still some pieces are subliminally
political. The political opinion is
often imbedded in a story and can be
missed.
Tell us please about the venues and
distribution of your creations.
I read for small and large venues and
have done numerous readings here in
the Southwest and across the country
over the years.
I have three books that are published
by the University of Arizona Press
and another by Kore Press in Tucson.
A number of my pieces appear in
collections and anthologies, many
of which are themed around the
Southwest, the desert, or women.
14 ARTSOURCE Arizona

“This poem evokes themes that are prevalent in traditional
O’odham songs, pulling from the form and structure of them.
The poem, like the songs, speak of the appreciation of the
landscape as home and, in particular, the event of rain and
the goodness it is known for.”
NEÑEʼI HA-SA:GID
Ha-ka: ʻac g ñeñeiʼi mo ʼam kaidaghim
ʼAm kaidaghim taṣhuḍnig wui.
ʼAm kaidaghim siʼalig ta:gio.
ʼAm kaidaghim ju:pin tagio.
ʼAm kaidaghim wakolim tagio.
ʻAm ʼac haʼicug ʼid ṣa:gid.
mo ʼam kaidaghim
S-ap ta:hadag ʼo g t-i:bdag.
S-ape ʼo g t-cegǐtodag.
S-ape ʼo g t-jeweḍga.
S-ke:kaj ʼo, ñia ʼan g ʻi- ñeid.
S-ju:jpig ʼo, ñia ʼan g ʻi- ñeid.
Ka: ʼac g ka:cim ṣu:dagi t-miabǐʼat.
Ka: ʼac g geʼe jegos t-miabǐʼat.
Ka: ʼac g s-ke:g hewel t-miabǐʼat.
Ka: ʻac g s-ke:g neneʼi t-miabǐʼat.
Ka: ʻac g s-ke:g ñeñeʼi t-ai ʼat.
The English version provides a meaningful insight to the intent
of the original.
IN THE MIDST OF SONGS
We hear the songs resounding.
They are resounding toward the sunset.
They are resounding toward the sunrise.
They are resounding toward the north.
They are resounding toward the south.
We are in the midst of songs.
Our heart is full of joy.
Our mind is good.
Our land is good.
The land is all beautiful, take a look.
There is light rain all around, take a look.
We hear the ocean in the distance.
It has come near us.
We hear the beautiful wind in the distance.
It has come near us.
We hear the dust storm in the distance.
It has come near us.
We hear a beautiful song in the distance.
It has come near us.
We hear a beautiful song in the distance.
It has come upon us.
ARTSOURCE Arizona
15

"This piece appeared in a collection entitled
'Aligning Our World' and reflects on a view
I saw while we were driving down from
Flagstaff into Phoenix in the early hours of
the day one summer. I noticed the alignment
of the setting moon and rising sun at a point
and noted the truckers that were resting
at the rest stop. This time of the summer
is significant to O’odham but of course the
truckers were oblivious to that."
ALIGNING THE SUN AND MOON
Five thirty on a summer morning near Flagstaff
Moon is setting in milky whiteness,
The sun is rising in misty moisture.
The truckers sleep at the scenic overlook.
The scenery is only in their dreams.
Vistas of rocky valleys and distant mountains float
through sleep.
They rest in early morning mountain air.
Unaware of a diaphanous moon setting on one horizon
and the sun rising on the eastern horizon.
They are in parallel.
In their sleep, they are oblivious to the schedule
in our universe.
The people know.
This time of the season when the two align, the
sun and moon.
The calendar is marked with ceremony and rains come.
It is raining. The earth is preparing, and we begin again.
We do this for the truckers that sleep at the scenic
overlook.
Knowing that poetry does not translate easily,
how do you address the challenge of conveying
O’odham thought to English speakers?
When writing in O’odham, I pay attention
to the usage and organization of words and
phrases. I am conscious of how someone
reading these in O’odham might interpret
them. Though I do have readers in O’odham,
there are very few in number, but they are an
important audience for me. Like any writer, I
suppose, I try to be careful of word choices and
spend a tremendous amount of time thinking about
and editing pieces just as I would in English.
Once I make the decision that a piece will be written
in O’odham I start there. Some pieces will replicate
O’odham song form in their sentence pattern and in
the use of metaphor and certain imagery, for instance.
The sentence may lack certain grammatical conventions
because of the song language form and a reader of
O’odham will recognize this. Though I may use certain
“poetic” conventions that work for the O’odham language
the form in English may be challenging to achieve. For
the most part I am not interested in a direct translation
but instead I will write a poem in English that will be
similar in theme and essence as the O’odham form
and set them side by side. I consider them to simply be
versions of one another.
In your career of using language arts to foster
appreciation for their historic culture, while also helping
people to bridge a gap between cultures, can you share a
concluding take-away?
We understand that learning to speak another person’s
language is an excellent way, if not the best way, to learn
about the people whose language it is. The same is true
of reading other people’s stories. This is an accessible
window into the people and their views, their histories,
their stories, their beliefs, the knowledge they always
had, the beauty of their language. Having access to
another culture through poetry is an important way
for understanding and appreciating the diversity that
exists in this world. I believe I allow the reader to know
something about being O’odham through my writing. 4
16 ARTSOURCE Arizona

ARTSOURCE Arizona
17

Noteworthy
A visit to the
Musical
Instrument
Museum
Review by Erick Hale | Photos courtesy of MIM
18 ARTSOURCE Arizona

"From our first breath,
music is the instrument of soul.
There’s no stopping our ingenuity when it
comes to creating the tools for our music...
For American Bob Ulrich, a visit to the
Musée des Instruments de Musique
in Brussels, Belgium with his friend Marc
Felix was inspirational and motivational.
That visit not only begged a question, but
conjured an answer for them both. ‘Would
people appreciate a giant visitation space
devoted to the entire world of music?’
They probably would. And in fact within
just five years the Musical Instrument
Museum (MIM) was a reality, and people
prove every day that they do indeed love
and support it.
The vast 200,000 square foot complex
was created in Scottsdale to house the
museum and its many thousands of unique
instruments and objects. The interior
space is thoughtfully laid out to recognize
global geographic and cultural distinctions
as we move from exhibit to exhibit across
two expansive floors filled with displays
that inform and delight the eye, the ear,
and the appreciative mind.

20 ARTSOURCE Arizona Orientation Gallery

...The raw ingenuity in shaping instruments is found in
every peopled place on the planet. It is innate, as if we
understand at some inarticulate level, that if we do not
feed the music, some portion of us will starve...
Many common instruments
that are played worldwide in
various cultural settings are
shown in multiple exhibits, but
the evolution and customization
of those instruments within
varied cultures shines through to
highlight music unique to each
culture. The exhibits showcase
cultural traditions while also
displaying the connectedness of
music on a global level. There are
over 200 countries and territories
represented in the displays and
dioramas.
Throughout its ten year history,
MIM has also hosted an unending
stream of live performances, not
only in the exhibition spaces,
but in its own 299 seat theater
designed with architectural and
acoustic excellence in mind. The
theater offers productions by
performing artists representing
many types and styles of music
and often features influential
artists and popular icons.
ARTSOURCE Arizona
21

Geo Galleries
Being a non-profit organization
MIM benefits operationally from
individual support, as well as
grants and corporate gifts.
For its founders the Musical
Instrument Museum is certainly
a dream come true. For its
appreciative visitors MIM will
undoubtedly prove to be the
catalyst and the inspiration for
many new dreams and some of
these will in turn prove to be a
dream come true.
DRUM
Nigeria exhibit
22 ARTSOURCE Arizona

...The Musical Instrument Museum amplifies, delights in,
and pays homage to these amplifiers
of human emotion...
COUPLAND DIGITAL SYNTHESIZER
Electronic Music exhibit
LE RATIONNEL ALTO SAXOPHONE
France exhibit
ARTSOURCE Arizona
23

...We have gathered instruments from all parts of
mankind, in every corner of the world...
CHISANJI THUMB PIANO
Thumb Pianos exhibit
24 ARTSOURCE Arizona
OUD PLUCKED LUTE
Turkey exhibit

...What is common in the more than 10,000 instruments
we have collected, is their ability to express the language
of soul from dialects around the world.
Many of these instruments
are one of a kind treasures...
HARDINGFELE BOWED LUTE
Norway exhibit
SHO MOUTH ORGAN
Japan Ritual exhibit
ARTSOURCE Arizona
25

...Our mission at the Musical Instrument Museum is to
celebrate music as a sustaining human gift. We honor
music as the wellspring of human culture...
MIM
MISSION
STATEMENT
Orientation Gallery
The Musical Instrument Museum (MIM) enriches our world by collecting, preserving, and
making accessible an astonishing variety of musical instruments and performance videos
from every country in the world.
MIM offers guests a welcoming and fun experience, incomparable interactive technology,
dynamic programming, and exceptional musical performances.
MIM fosters appreciation of the world’s diverse cultures by showing how we innovate,
adapt, and learn from each other to create music–the language of the soul.
26 ARTSOURCE Arizona

...If not not for music the
soul would have no language,
even though we have the ear,
the heart to listen."
– Excerpt from MIM welcome video presentation
ROBJOHN PIPE ORGAN | Orientation Gallery
Above: MIM recently acquired and installed a pipe organ
made in 1859 by respected NewYork builder Thomas
Robjohn (1809-1874). The organ is the only one of 15
produced by Robjohn that exists today. In its past lives,
MIM’s historic pipe organ provided music for churches in
NewYork and Michigan. In MIM’s Orientation Gallery, the
organ is an impressive sight with its two manuals (keyboards),
10 stops, and 502 pipes.
Experience Gallery
Musical Instrument Museum
4725 E. Mayo Boulevard, Phoenix
>>> Learn more at mim.org. 4
27

JOHN M. SODERBERG
The
BRONZE AGE
By Erick Hale
“Blue Deep” 7.5’ H
The Bronze Age is a title sometimes applied to the
first era of human history to be dominated by the use
of metal tools. The title acknowledges that humankind
advanced from the use of stone as a primary element in
tools and creative works, to the use of metal. Copper
was evidently the first metal crafted for such use in
specific regions, and later that copper was made more
durable by the addition of tin, thus bronze was born.
Over time the Bronze Age was eclipsed by the Iron
Age within industry, but the use of bronze has never
diminished and it is especially appreciated in the arts.
For artist John Soderberg, a personal bronze age began
some forty years ago. After an honorable discharge
from the United States Marines in Arizona in the early
1970s, he decided to settle in the state and make it
28 ARTSOURCE Arizona

“Merlin” 10' H
ARTSOURCE Arizona
29

home. Raised in a family that highly appreciated the
arts and having personally been an arts-creative since
childhood may have predisposed an inclination to
migrate to an arts related vocation. And so he did.
Finding his way to an entry level position in a small
foundry in Flagstaff, John was introduced to the modern
use of bronze casting. He learned to pour bronze, grind
it and weld it. Though he worked by day for meager
wages, his nights were filled with ambitiously sculpting
his own clay in preparation for a personal coming of age
– with his own bronze sculpting debut.
The more John Soderberg learned, the more he wanted
to learn. He started studying under the respected fine
arts instructor Tuck Williams who taught bronze casting
at the University of Northern Arizona in Flagstaff.
John learned bronze sculpting so well, that he became
involved in teaching it others, and to date has helped
some 3000 persons learn the craft.
“Flower Sutra”
Anyone talking to John Soderberg very long also will
be introduced to yet another passion of his: service
to others. A few highlights from this side of his career
include the fact that he was a founding member of
Rancho Feliz Charitable Foundation, an Arizona nonprofit
created to benefit people on both sides of the
Southern border with forays into providing famine relief,
granting scholarships, assisting with medical benefits, and
managing a variety of worthy projects. He has created
two bronzes for Amnesty International, sculpted the
“Freedom Award” for an international group fighting
contemporary slavery and human trafficking with
Archbishop Desmond Tutu, Demi Moore, and many
“The act of encapsulating
empathy in some medium,
be it dance or music, painting
or sculpture, simple stories or
more complex forms, is my
definition of art. The feeling
and then the sharing of an
emotion or idea – which is
the essence of art – is what
makes us human.”
Knighting by Swedish Count Ulf Hamilton, 2006,
and honorary induction into the Hamilton Family
– John M. Soderberg
30 ARTSOURCE Arizona

other notable people. He was Knighted
by a Swedish Count for his service
to women and children and for his
contributions to the world of art,
and he has officiated at numerous
weddings as an ordained Christian
minister since 1997.
Most recently the talented sculptor was
commissioned to produce the distinctive
“Justice Ruth Bader Ginsburg Woman of
Leadership” award which bears her portrait, and
which was presented in 2020 to Agnes Gund for her work in social
advocacy. This initial presentation was made at the Library of Congress
in Washington D.C. by the late Ruth Bader Ginsburg herself and is
planned as an annual event.
Soderberg’s two daughters seem to have inherited the sculptor’s
proclivity for sculpting and casting in bronze. Both Misty and Heather
are known as accomplished sculptors in their own right, Misty living
in Arizona and Heather in Oregon. Heather is currently sculpting one
of the largest bronze eagles ever made, a massive 12 ton Bald Eagle
featuring a fifty-five foot wingspan. The giant cast bronze creation will
be trucked in three sections and assembled onsite wherever it lands.
When all is said and done, bronze remains the passion of John
Soderberg. His fascination however is still found with the sometimes
lonely, timeless and ultimately noble drama of the human experience.
This is manifest as he sculpturally explores worthy human themes in
a manner capable of awakening the viewer’s emotion, and in a manner
worthy of bearing the signature of John M. Soderberg.
For more information visit www.SoderbergBronze.com. 4
TOP LEFT: Julie Opperman, Justice Ruth Bader Ginsberg, and
recipient of the 2020 “Justice Ruth Bader Ginsburg Woman of
Leadership” award, Agnes Gund | TOP RIGHT: John M Soderberg,
1989 with “Poreia” clay original | BOTTOM: John at work with
his creations | OVERLEAF: "Birdwoman"
ARTSOURCE Arizona
31

"Birdwoman,"
a 6-foot high bronze
of Sacajawea depicts her
dutiful attendance to the
task of being a guide
pointing the way, while
her left arm reaches back
to care for her papoose.
32 ARTSOURCE Arizona
By John M. Soderberg

ARTSOURCE Arizona
33

Patrick Schweiss
Toasting the Talent
We have attended and supported the Sedona International Film
Festival since before moving here 18 years ago. Gradually, we have
increased our sponsorship of the festival because of its tremendous
contribution and value to the Sedona and Verde Valley communities,
not to mention its value as a premier arts venue.
Reaching this level of success does not happen automatically.
It always comes down to a matter of leadership. Sixteen years ago
Patrick Schweiss became the de facto leader and pied piper of our film
festival. Margaret Thatcher once said, "Don't follow the crowd; let the
crowd follow you." And, we did - how lucky for us.
– Bill & Susan Cammock
Photo by Gary Glenn
ARTSource Arizona is pleased
to host Toasting the Talent to
spotlight exceptional people in
the arts.
We discovered that the name
of Patrick Schweiss, Executive
Director of the Sedona
International Film Festival,
cannot be mentioned without
attracting superlatives. Here’s a
few recently heard.
I have known Patrick Schweiss professionally for over two decades.
I have always thought of him as an important person. He is focused
on the task at hand and he seems to be so extraordinarily kind in his
perseverance for a successful completion.
When he took on the new responsibility of the Sedona Film Festival
in 2004, I stared in awe at how amazingly well he did, and more so
that he made a seemingly impossible task look so easy. It is my firm
opinion that we are all lucky to know him...!
– Marty Herman, Exposures International Gallery
34 ARTSOURCE Arizona

There is really no one quite like
Patrick. He is most certainly one
of a kind.
– Connie Levinson
Yes, yes, yes,........ to the
consistent questions I have
been asked about Pat Schweiss:
Yes, Pat is that much fun to
work with! Yes, Pat is always
upbeat, happy and positive!
Yes, Pat is so passionate about
life and lives it to its fullest!
The film festival, the Sedona
community is very grateful and
blessed to claim this incredible
personality as its own. And we,
to call him a dear friend.
– Beverly Hurff and
Earle Weatherwax
There’s no doubt why the Sedona International Film Festival is one of
the most beloved events in Sedona – and that’s because of the passion,
enthusiasm, and contagious energy of their Director, Pat Schweiss. Not
only does Pat and his team bring top-notch independent films, but their
festivities and access to some of the world’s most revered professionals
make this a “bucket-list” event for locals and visitors alike. Combine Pat’s
endless gusto, thought-provoking films, and the stunning scenery of
Sedona and you have an event that never disappoints.
– Jennifer Wesselhoff
Patrick’s love of movies and hence his love for the Sedona International
Film Festival and the Mary D. Fisher Theatre is the driving force behind
our success. His energy is always positive, and infectious, pulling everyone
he meets into his world and what a fun world it is. Before I joined the
Board of Directors Patrick worked with my mother Marion Herrman who
was one of the founders of the Film Festival years ago. She would rave
about how wonderful he was. She absolutely adored him, which is not
surprising because now that I have been on the Board of Directors these
last 7 years, I can appreciate all the creative talents and boundless energy
that he has.
– Patty Herrman-Juda
Patrick is beloved in Sedona!
His star shines every bit as
bright as those appearing on his
silver screen. Warm, generous,
animated, sincere, and grateful
– always so grateful. He's
Red Rock Country's treasure.
Cheers, Patrick!
– Pat & John Currivan
Pat is a dynamo whose
leadership makes the Sedona
International Film Festival
“the cultural heart of Sedona.”
His passion for independent
film is contagious.
– Chuck Marr, Board Chair
In a nutshell, Patrick is always
super friendly, caring and the life
of the party. A true gem!
– Jill Kyriakopulos
Pat Schweiss is the spark that
makes the powerful SIFF
engine run. More importantly,
I appreciate him as a
thoughtful, considerate, and
decidedly congenial member
of the human family.
– Greg Lawson
I always so say that Sedona is one of the luckiest communities in the world
because we have Patrick Schweiss in it. His contribution here is beyond
measurable. EVERYONE loves Pat!! His talent and generosity has a huge
ripple effect. I've been a sponsor of the Sedona International Film Festival
for 19 years now. I've witnessed the growth and respect that the festival has
gained due to Patrick's participation and leadership. It's so impressive and
so is HE. I appreciate Pat in so many ways but most of all as a kind, loving
and wonderful friend!
– Glenn Scarpelli
ARTSOURCE Arizona
35

“Man is
least himself
when
he talks
in his own
person.
Give him
a mask,
and he will
tell you the
truth.”
– Oscar Wilde
36 ARTSOURCE Arizona
“Rebel” Photo by Larry Pollack
“Nature’s Voice” Photo by Larry Pollack for Wetico Project

Body being painted by artist
Patty Miller for a photo shoot
of Pash Galbavy as “Wonder”
– the Actualizing Tendency.
Photos by Susie Lang
Performance artist and mask
maker, Pash Galbavy makes
exploring and revealing the inner
world of human identity and emotion
an art.
Using masks and movement
she incorporates improvisation,
storytelling, dance, myth, along with
personal and collective healing ritual.
“My archetypal masks often
represent challenging emotions that
people tend to try to avoid and my
passion is embodying them in ways
that help viewers reflect upon and
better understand and accept these
aspects of themselves and others.”
Pash began making masks over 25
years ago with her stepmother, Los
Angeles psychologist Liza Hughes
who used the Voice Dialogue
methods of Hal and Sidra Stone with
mask work to identify different parts
of oneself.
PASH GALBAVY
unmasked
ARTSOURCE Arizona 37

“Wonder” the Actualizing Tendency. This mask represents what Carl Rogers, the father of humanistic psychology called “the actualizing tendency,” which is the
part of ourselves that reached towards the light and self actualization regardless of external circumstances. Photo by Susie Lang
“Pleaser” Photo by Larry Pollack
“After making just one mask that
represented an inner archetype, I
couldn’t stop making more. To this
day, I continue identifying and naming
different inner parts, making masks
and then performing with them.”
One of her favorite mask projects
was the “Hope and Trauma in a
Poisoned Land” – a uranium mining
educational art project and show
at Coconino Center for the Arts
in Flagstaff. The project highlighted
the impact of over 1000 abandoned
uranium mines on Navajo land –
hundreds of which are within fifty
miles of Flagstaff.
A grant she received with
photographer Larry Pollock, and
subsequent mask shows and articles
written about “Wetiko,” an Algonquin
spirit of insatiable greed, also tops
her list of favorite past projects.
She added, “It was also very powerful
to do a photo shoot with masks with
photographer Jorge Vismara on the
38 ARTSOURCE Arizona

Photo by J.D. Peterson
Photo by Bob Coates
“Grief” at Inside-Out Climate Care presentation.
homesite of my family home of 48-years that burned in the
Woolsey fire, and then to do a mask show related to climate
and the fire.”
Pash has an MA in Communication Studies and is the
recipient of numerous artist grants, including several from
the Arizona Commission on the Arts and two from the City
of Sedona.
“I studied for several years with Natalie Rogers, considered
by some to be the mother of expressive arts, at the
Person Centered Expressive Therapy Institute in Northern
California and also studied for many years with Peggy
Natiello, a prodigy of Carl Rogers, who is often considered
the father of humanistic psychology.”
She has performed at various festivals and public and private
events in the US and Australia. Pash has taught mask making
to many groups including elementary and high school
students, community and
mental health groups, and
has also offered mask
making as part of the City
of Sedona’s Artist in the
Classroom project. “My
partner and husband, Marty
Landa, and I developed
the first easy and fast,
environmentally friendly
mask making kit,” she
commented.
“Wetico” spirit of insatiable greed.
Photo by Larry Pollock
She added, “I was a
member of a Playback
Theater troupe and have
“Happy” the Hummingbird Spirit at the Sedona Hummingbird Festival.
“Emptiness” at Woolsey Fire site.
Photo by John Tannous
“Compassion” at an open, abandoned uranium mine on the Navajo
Reservation for "Hope and Trauma in a Poisoned Land" uranium mining
educational art project.
ARTSOURCE Arizona
39
© 2019 by Jorge Vismara

had many years of training with a variety of alternative
and expressive dance and movement forms including
butoh, contact improvisation, 5-Rhythms, and Authentic
Movement. I joyfully and gratefully bring all of that work to
bear in the mask and movement work I am blessed to be
able to offer in private and public settings.”
“Ultimately, in all of my artistic practices, my goal is to help
inspire a more understanding and compassionate view of
ourselves, humanity, and the world.”
To learn more about Pash’s mask & movement work,
see www.UnmaskIt.com. 4
40 ARTSOURCE Arizona
LEFT to RIGHT:
| “Woe of the World”
| “Compassion” holding “Woe of the World”
Photos by Larry Pollack

ARTSOURCE Arizona
41

LEWIS
NASH
The Heart
Behind
The Beat
By Lynn Alison Trombetta
Modern Drummer Magazine once called
internationally renowned drummer, Lewis Nash
“the most valuable player” in jazz. A performance
center named after him, The Nash Jazz Club, located in
central Phoenix is also the home of Jazz in Arizona, a
nonprofit organization founded in 1977 that encourages
and supports the performance of, and appreciation for, the
great American-born art form called jazz. I wanted a sense
of the beat that drives Lewis Nash, here’s what I got in a
recent conversation with him.
The Beat Photo: Carrie Motzing
42 ARTSOURCE Arizona

“I am inspired by my students,” Lewis shared. “As you
can imagine, being remote at ASU during the pandemic
offers a challenge for the Jazz Studies program, but we’re
finding ways to engage. I find inspiration in their readiness,
preparedness and engagement and that keeps me wanting
to be ahead of them – you know, have my material ready
and just be ready to learn from them as well. With the
privilege of being a professor at ASU, I can share many of
the experiences I had when traveling the world and doing
all the things I did as a career performer. I’m able to distill
those experiences and bring the knowledge I gained into the
classroom and into my interaction with the students.”
Born and raised in Phoenix, Lewis began playing drums at
age 10 and by the age of 18 he performed with local jazz
groups. He attended ASU where he was a broadcast major
with no vision about music becoming his career. “Music
was something I had always done and enjoyed, but I hadn’t
chosen it as a career path, maybe because I didn’t know
any professional musicians or anything about the life of a
professional musician.”
Things changed when a fellow musician from the music
department approached him after rehearsal and asked if he
was a music major. “I said I wasn’t. I was an undergrad, he
ARTSOURCE Arizona
43

Photo: Ayano Hisa
was a graduate student, and he added,
‘So, you don’t plan on going into
music as a career?’ When I said 'no', he
commented, ‘I think you’re making a
mistake.’ That was one of the earliest
of heart-prompts – ‘Okay Lewis, stop
and think about what this person is
saying to you.’”
Once the seed of that dream was
planted, things happened quickly
for Lewis. “I flew to New York and
auditioned for the singer, Betty Carter.
She selected me and next thing I
know, a couple weeks later we’re in
Washington DC and I’m playing
on stage with this international star.
Lewis Nash and students from Vail Jazz. Photo: Steven Pope
44 ARTSOURCE Arizona

Kid. Find something else.’ Every night, I
heard that so I was constantly exploring
and being creative with her and that was a
good thing to get early on – and that has
stayed with me.”
Lewis performs at The Nash, but his heart
is also working with the student musicians
who take part in ensembles, jam sessions
and other educational activities offered
there. “I try to instill in my students a kind
of self-discipline which can lead to the
mastery of self and a mastery of technique
that will elevate them to the highest
levels of musicianship. So to me it’s not
about genre – it’s style, musicianship,
professionalism, self-motivation and
such qualities I believe can be instilled.
Talent without those things can stagnate
or under-develop. So I try to impress
And then I’m in Europe. It was a
whirlwind for me – it threw me into
the fire, so to speak, after those years
in Phoenix and New York. I was
traveling the world for the very first
time performing music, understanding
what world traveling means with
airports and train stations, being up
early for hotel departures and all that
kind of stuff. It was all new to me. I
was really having to learn a lot about
being an adult and a professional
musician with the responsibilities that
go with that such as being on time and
learning to read music. With Betty,
I learned about being a professional
musician on the road. She encouraged
me to always search for new things to
play so I wouldn’t become a habitual
player. She called me ‘Kid’ back then
because I was 22 when I joined. She’d
say, ‘I already heard you play that,
Lewsis Nash at Nash 7th Anniversary. Photo: Steven Pope
ARTSOURCE Arizona
45

Lewis Nash presents The Jazz Beacon Award to Double Bassist
Ron Carter in 2020 at downtown Phoenix Jazz Club, The Nash.
Lewis Nash created The Jazz Beacon Award to honor legendary jazz
musicians in recognition for their contributions to the world of jazz.
Photo: Joseph Berg
attaining qualities like these to achieve a greater level of
proficiency at whatever you’re doing. When these are in
place, the elements necessary to do things on the highest
level, you need to add to that mix the openness to other
people’s musical vision so you can collaborate. It’s not all
about how you personally see it or hear it. If a person has
that openness and you combine that with a high level of
musicality and technical proficiency and have an openness
to collaborate, those are all the makings for success.”
And what of his own early years? Lewis chuckles as he
recalls them. “Can you imagine me leaving Phoenix and
going to New York City? And I lived almost 40 Years in
New York, that’s nearly all of my adult life! When I think
about it, it’s just amazing. I didn’t give-up. I kept my nose to
the grindstone.”
He adds, “But I think my best is yet to come.”
As it comes, Lewis Nash will surely be counted among the
artists who have made a difference in other people’s lives;
through his performance career, through his teaching and
through life experiences shared with those who will follow
in his footsteps. As the best comes his way, Lewis Nash will
take it in his own hometown of Phoenix, where he has now
returned – and the beat goes on.
To learn more visit www.TheNash.org. 4
The Nash Jazz Club envisions an inclusive ever-expanding community that experiences, learns about, and supports the art of jazz.
PERFORMANCE • EDUCATION • COMMUNITY
46 ARTSOURCE Arizona

Sedona,
Arizona
Nature’s
Masterpiece
VisitSedona.com
200293_SedonaArtSource_Ad-R1.indd 1
1/6/21 9:57 AM
ARTSOURCE Arizona
47

48 ARTSOURCE Arizona

GERARDO’S
I T A L I A N K I T C H E N
Keeping
the
Kitchen Fires
Burning Through a
Collective Century
of Culinary Service
GerardosItalianKitchen.com
Gerardo’s Italian Kitchen
2675 West State Route 89A
Sedona, Arizona 86336
928.862.4009
ARTSOURCE Arizona
49

Peggy Moffitt modeling dress designed by
Rudi Gernreich, Fall 1971 collection.
Photograph © William Claxton, LLC, courtesy of
Demont Photo Management & Fahey/Klein Gallery
Los Angeles, with permission of the Rudi Gernreich
trademark.
In the 1960s social convention was being challenged
at almost every turn. When it came to the field of
fashion the name of Rudi Gernreich proved to be
synonymous with that challenge. The Austrian-born
immigrant to America famously tested the fiber of
European fashion concepts with ideas that had been
maturing within him for more than a decade. He
succeeded in supplanting tradition with daring new
form, introducing non-conforming materials and avantgarde
design elements to take his place on Fashion
Avenue.
FEARLESS
FASHION
SPECIAL EXHIBITION at the
PHOENIX ART MUSEUM
Peggy Moffitt modeling ensemble designed by
Rudi Gernreich, Fall 1968 collection.
Photograph © William Claxton, LLC, courtesy of
Demont Photo Management & Fahey/Klein Gallery
Los Angeles, with permission of the
Rudi Gernreich trademark.
50 ARTSOURCE Arizona

Rudi Gernreich holding
bolts of fabric, 1966.
Photograph © William Claxton, LLC,
courtesy of Demont Photo Management &
Fahey/Klein Gallery Los Angeles, with
permission of the Rudi Gernreich trademark.
The Phoenix Art Museum will be
hosting an exhibit of Gernreich’s
work from April 7 through
September 26, 2021, in the Steele
Gallery. This special exhibition
is not to be missed by those
interested in fashion design and
illustration. Consider comments
and historic images provided by
museum curators responsible for
showcasing a span of Gernreich' s
creative career.
Peggy Moffitt modeling trompe l’oeil
ensemble designed by Rudi Gernreich,
Resort 1971 collection.
Photograph © William Claxton, LLC, courtesy
of Demont Photo Management & Fahey/
Klein Gallery Los Angeles, with permission
of the Rudi Gernreich trademark.
Peggy Moffitt modeling ensemble
designed by Rudi Gernreich, Resort
1968 collection.
Photograph © William Claxton, LLC,
courtesy of Demont Photo Management
& Fahey/Klein Gallery Los Angeles, with
permission of the Rudi Gernreich
trademark.
ARTSOURCE
Arizona
51

Peggy Moffitt modeling ensemble designed by Rudi Gernreich, Fall 1968 collection. Photograph © William Claxton, LLC,
courtesy of Demont Photo Management & Fahey/Klein Gallery Los Angeles, with permission of the Rudi Gernreich trademark.
GILBERT VICARIO
– Deputy Director for Curatorial Affairs and
the Selig Family Chief Curator of Phoenix Art Museum
“I had been speaking with Brooke Hodge, who was
then curator of design at Palm Springs Art Museum
about the Museum’s fashion design department prior
to the arrival of Helen Jean, the Museum’s current
Jacquie Dorrance Curator of Fashion Design. Brooke
had mentioned seeing Fearless Fashion at the Skirball
and highly recommended that I see it, too. I went
Left: Peggy Moffitt modeling George Sand pantsuit
designed by Rudi Gernreich, Fall 1967 Collection.
Photograph © William Claxton, LLC, courtesy of Demont
Photo Management & Fahey/Klein Gallery Los Angeles,
with permission of the Rudi Gernreich trademark.
Opposite: Rudi Gernreich laying out a pattern, 1966.
Photograph © William Claxton, LLC, courtesy of Demont
Photo Management & Fahey/Klein Gallery Los Angeles,
with permission of the Rudi Gernreich trademark.

on the very last weekend it was open, during Labor Day
weekend 2019, and met with the exhibition’s curators, who
expressed great interest in the show traveling to Phoenix.
“Rudi Gernreich and Peggy Moffitt were two of my
obsessions during my college years, especially after seeing
the movie Blow Up. I wanted to share that enthusiasm
with the Phoenix community and younger generations
who have never heard of this designer. Gernreich’s work is
particularly relevant today as we continue to break barriers
around gender and racial stereotypes and LGBTQIA+
inequality. His commitment to social politics is particularly
salient at this moment, and it is important to acknowledge
that his activism drove his designs. I want people to come
away with the important fact that being socially and
politically active can actually make you a better and more
compassionate artist with convincing urgency.”
Rudi Gernreich. “George Sand” ensemble (jacket, vest,
blouse, pants, skirt), Fall 1967. Embroidered velvet, silk
satin. Collection of Peggy Moffitt. Photo by Robert Wedemeyer.
53

Peggy Moffitt in Nehru ensemble designed by
Rudi Gernreich, Resort 1965 collection.
Photograph © William Claxton, LLC, courtesy of Demont
Photo Management & Fahey/Klein Gallery Los Angeles,
with permission of the Rudi Gernreich trademark.
Left: Rudi Gernreich with models wearing
his designs in front of Watts Towers, c. 1965.
Photograph © William Claxton, LLC, courtesy of
Demont Photo Management & Fahey/Klein
Gallery Los Angeles, with permission of the
Rudi Gernreich trademark.
Opposite: Contact sheet of Peggy Moffitt modeling a caftan designed by Rudi Gernreich, Fall 1967 collection.
Photograph © William Claxton, LLC, courtesy of Demont Photo Management & Fahey/Klein Gallery Los Angeles,
with permission of the Rudi Gernreich trademark. Rudi Gernreich papers (Collection 1702). Library Special
Collections, Charles E. Young Research Library, UCLA.
ARTSOURCE Arizona
55

Peggy Moffitt modeling the
topless swim suit designed by
Rudi Gernreich, 1964.
Photograph © William Claxton, LLC,
courtesy of Demont Photo Management
& Fahey/Klein Gallery Los
Angeles, with permission of the
Rudi Gernreich trademark.
“The garments from this
exhibition range in date from
the 1950s-70s, a period of
important advances in synthetic
textiles. Polyester and spandex
both became available during the
1950s, and Gernreich was one of
a handful of designers pioneering
the use of stretch fibers in fashion.
You can really see the influence of
these new body-hugging textiles
in Gernreich’s designs.
HELEN JEAN
– The Jacquie Dorrance Curator of Fashion Design
of Phoenix Art Museum
“This exhibition is not a retrospective of the designer’s
entire life’s work, but rather an interaction of fashion
design and social justice. 67 dressed ensembles are
presented in sections such as Youth Culture & Politics;
Experimental Fashion & Legacy; Unisex & Solidarity.
Guests will learn how Rudi fused his sense of social
activism with personal expression as well as the ways
he celebrated the natural human form with new
synthetic fibers, stretch fabrics, and gender neutral
dress. In addition to dressed ensembles, a large number
of photographs and other didactic material help to
explore this narrative in depth.
“The topless bathing suit and
the duotard, designed for a
dance performance, are going
to be crowd favorites, and ones
I’m personally excited to see.
Gernreich’s work in unisex and
gender non-conformity dress will
also be very interesting to explore.
There we see his work with unisex jumpsuits, skirts,
pantsuits, and the caftan. His work is all about the
body. Some of his greatest hits are the topless bathing
suit, the 'no-bra' bra, and the thong. So a lot of the
exhibition is about revealing the natural human form
through fabric stretch and garment design. Another
must see is the 'Marlene Dietrich' white satin pantsuit.
This look was removed from the runway show at the
1964 Coty American Fashion Critics Awards Fashion
Show for being too scandalous.”
Phoenix Art Museum
1625 N. Central Avenue, Phoenix
>>> For more information visit www.phxart.org. 4
56 ARTSOURCE Arizona

Clockwise from top:
Dancer Serena Richardson
in costume designed by
Rudi Gernreich for the
Lewitzky Dance Company’s
Inscape production, 1976.
Photograph © Daniel Esgro.
Rudi Gernreich with Peggy
Moffitt modeling the “Marlene
Dietrich” pantsuit, 1964.
Photograph © William Claxton,
LLC, courtesy of Demont Photo
Management & Fahey/Klein
Gallery Los Angeles, with permission
of the Rudi Gernreich
trademark. Rudi Gernreich papers
(Collection 1702). Library
Special Collections, Charles E.
Young Research Library, UCLA.
Dancers Loretta Livingston
and Kurt Weinheimer in
“duotard” costume designed
by Rudi Gernreich for the
Lewitzky Dance Company’s
Inscape production, 1976.
Photograph © Daniel Esgro.
ARTSOURCE Arizona
57

Lynn Alison Trombetta
Vast stretches of the high deserts of northern Arizona and the desert southwest
painted ‘alla prima’ in oil reflect a lifetime of loving nature. Peaceful cloudscapes
and landscapes offer gentle ‘forever places’ to return to time and time again.
Cloudscapes • Landscapes • Wildlife
LynnTrombettaFineArt.com
58 ARTSOURCE Arizona

BOOK RELEASE
HAPPY ANNIVERSARY
“Lanterns Along The Path”
The Allegorical Art of James N. Muir
Part Two
This second book in the Lanterns Along the Path
Series continues Muir’s sculptural observations
on our individual and collective journey through
the Labyrinth of life. Eloquently using the age-old
language of symbolism, both written and artistic,
this treatise on his “Allegorical Art” serves as
a guidebook for fellow travelers on “the Path.”
$50.00. Learn more at www.JamesMuir.com.
Exposures International Gallery is now engaged
in a year-long celebration acknowledging 2021 as
their 25th Anniversary.
Located in the heart of Sedona and showcasing
over 100 artists in 20,000 square feet of
exhibition space, Exposures International Gallery
is appreciated as “One of the largest and most
unique galleries in the world.”
Plans are being readied for commemorations to
peak in a spectacular fall show not to be missed.
Visit Exposures International Gallery of Fine Art
at 561 State Route 179 in Sedona and online at
www.ExposuresFineArt.com.
ARTS IN MOTION
ARTSOURCE Arizona
59

KHRYSTYNA KOZYUK
Arizona has a warm welcome for newcomers and
painterly artist Khrystyna Kozyuk has arrived to bask
in that warmth.
Khrystyna's formative years were spent in her native
Ukraine where she began in the arts as a child. She
decided to emigrate to the United States and in 2005,
after graduating from university, took that leap.
Khrystyna has made the choice to devote her life to art
as a service. Whether through painting, art therapy, or
creating and transforming cold, lifeless environments with
mixed techniques and materials, her art is intended to
be recreational therapy to help heal the stressed human
condition. "My creativity knows no boundaries, and often
keeps me awake at night, inspiring me with new ideas to
share," she says. "I have experimented with a variety of
techniques. When looking at my work one will see paint
applications that range from thin to thick, opaque to
translucent, matte to glossy, and smooth to scratched."
Whether through her paintings or interior design work,
Khrystyna’s lifelong talents delight many and help to make
the world of her clients and collectors a cheerful and
more beautiful place.
Visit Khrystyna’s working studio and art gallery at 2710
West State Rote 89 A, Suite B, in Sedona and see more
online at www.KozyukGallery.com.
Crystal Flowers
60 ARTSOURCE Arizona

FRANCK BOISTEL
We welcome paint artist Franck Boistel as a newcomer
to Arizona. Though a native of France, Franck has been
a visitor to and an aficionado of the Southwest United
States for nearly 30 years. His fascination is with the
entire culture he has discovered from the Southern
Rockies to the Pacific Coast.
Memorial Rider 2
SEDONA ARTS ACADEMY
As a painter, recreating his experiences and discoveries on
canvas, he has been especially enamored with the idea that
he has found a similarity to his French culture among the
Native Americans: respect for the elders, an appreciation
for history, and the commitment to protect the ancestral
land and heritage.
"My art reflects my appreciation for the beauty of the
people, the wildlife, and the vivid colors that often
surround them," Franck says. Contact him at
franck.boistel@gmail.com.
Sedona Arts Academy was established in March 2020 as
an educational and cultural community center committed
to innovation and creativity across the spectrum of the
arts. SAA is overseen by dedicated professional artists
from across several disciplines working in collaboration
to ensure broad representation.
The Academy aims to provide a
nurturing, educational environment
to encourage all to excel at achieving
their artistic goals. “There are many
performing artists, fine artists,
emerging artists and young artists
who live in this magnificent area of
Northern Arizona,” says Camilla
Ross, President, “and Sedona Arts
Academy is a venue where artists of all ages and stages can
have a place to showcase and sell their art.” SAA is also the
resident home for affiliated pursuits, including Emerson
Theater Collaborative, Sedona Chamber Ballet, Sedona Arts
Conservatory and Sedona Shakespeare Company. Sedona Arts
Academy offers a variety of classes,
theatrical events and workshops to
entertain and benefit the community
at large. The Academy is housed in
the Village of Oak Creek at The
Collective. More information can
be obtained by contacting Camilla
Ross, 928-288-2258 or by
visiting the Academy online at
www.SedonaArtsAcademy.org.
Photo: Larry Kane
ARTSOURCE Arizona
61

62 ARTSOURCE Arizona

AROS CRYSTOS CREATIONS
Aros Crystos is a life-conscious,multi-dimensional artist on a global mission: a
mission to awake consciousness through art.
All of Aros’ artistic pursuits tap into the recognition that vibration is part
of the makeup of all animate and inanimate details of our known existence.
He promotes and employs the use of sound frequencies from both the
entertainment and healing perspectives. He was recognized as “Most
Transformational Artist” in 2007 at the LA Music Awards.
For decades he has championed the
causes of dolphins and whales, the ocean,
and honoring the indigenous relationship
with Mother Earth and the Universe.
An Original painting by Aros Crystos,
8”x10” was created using the dolphin
light energy and is available to view
upon request by contacting
808-854-4730 or online at Aros.life
Whether on stage as a performer, in the
studio as a painter, or working in fashioncreation
mode by producing custommade
articles of clothing that match the
frequencies of the wearer – Crystos is
constantly attuned to the energies that
abound.
His theme includes an astute awareness that every person is valid, and as a
member of the galactic pattern is part and parcel of the Universe, entrusted with
the precious privilege of time, and is therefore a bearer of universal privilege and
responsibility. “The entire creation is born in light, is sustained in light, and merges
back into light,” he says.
Currently on a global tour promoting his art, custom clothing line, and a Galactic
Federation model, Aros made a stop in Arizona to relish Southwest style, and to
contribute to it by creating a mural at the Ultimate Light Mission in Sedona.
Aros’ Clothing Line, Galactic Orgasm
Design may be seen and ordered
through: The Victorian Cowgirl, 181
State Route 179, Sedona, Arizona,
86336
ARTSOURCE Arizona
63

Amid the world-turned-upside-
down impact of COVID-19
and unpredictable return
to normal, there is good
news: there will be a
Sedona International
Festival in 2021.
The annual 9-day
immergence in all
things independent
film, June 12-20 –
certainly, a welcome
respite and lovely
opportunity for
escapism – carries on the
incredible 27-year tradition
and legacy that has generated
widespread accolades and
worldwide attention.
There will be films, and plenty of them.
They will entertain, educate, enlighten and even
perhaps ignite a range of passions that will underscore
hours of compelling conversations driven by the films
themselves. But this iconic festival, at least for this year,
won’t look – or feel – like the 26 that preceded it.
“It’s no revelation that our world has changed on so
many levels,” said Festival Director Pat Schweiss. “Since
the pandemic struck, we have rethought, reconfigured
and refreshed how we operate the Mary D. Fisher
Theatre on a daily basis and the annual Sedona
International Film Festival for
2021.” With apologies (and
maybe thanks) to Disney,
think of this year’s
event as the “Festival
Reimagined.”
“That concept takes
on many different
meanings, and things
will look different,
but most important
for myself, our staff
and board of directors
is that we wanted to
ensure and design a
scaled-down version of the
Sedona International Film
Festival that offers all that
we have become known for
in an environment that is safe
for everyone,” Schweiss said. “And,
we look forward to returning to the format, depth and
breadth of the previous festivals when the calendar
turns to 2022.”
What’s it all mean? It means a diverse range of full-
length features, shorts, documentaries, and foreign films
offering something for everyone. It also means health
and safety protocols and social distancing applied to
every aspect of the Festival. “There won’t be as many
films as we’ve had in the past, but the quality and
diversity that has been our hallmark continues to drive
64 ARTSOURCE Arizona

Anne Meara & Jerry Stiller
Nicolas Cage
Mariel Hemingway
Jane Seymour
Naomi Watts
Susan Sarandon
Mackenzie Phillips Richard Dreyfuss Doris Roberts
ARTSOURCE Arizona
65
Photos provided by Sedona International Film Festival

Conversations with the artists
the three screening committees
reviewing the thousand-plus
films that have been submitted
for consideration,” Schweiss said.
“We’re scaling down in the number
of films, but we’ll be showing them
more often in fewer theaters.”
Films will be screened in socially
distanced adapted theaters at the
Mary D. Fisher Theatre, Sedona
Performing Arts Center (SPAC) and
the two largest theaters at Harkins
Theatres.
To eliminate lines in lobbies or
outside the Mary D. Fisher Theatre,
“we’re working on a system that
allows ticket buyers to choose
specific seats – based on theater
diagrams for each venue,” Schweiss
said.
A sampling of the Festival films may
also be offered virtually and there’s
even consideration of setting up a
“drive-in theater” for patrons to
experience not just the films but
the nostalgia of those long-gone
days of families being together,
surrounded by popcorn smells and
the sound of films delivered to their
cars. Other adaptations may change
the concept for the evening parties
and operation of the Film Festival
Lounge where patrons, filmmakers,
sponsors and staff gather each day.
“Safety, and bringing great films to
Sedona, is motivating every action
we take,” Schweiss said.
Bella Gaia
That’s one thing that hasn’t changed:
bringing great films and inspiring
talent to Sedona – people like
Rob Reiner, Susan Sarandon, Billy
Zane, Cloris Leachman, James
Brolin and Elliot Gould to Richard
66 ARTSOURCE Arizona

Bella Gaia
Dreyfuss, Mariel Hemingway, Nicolas
Cage, David Strathairn and Peter
Bogdanovich. The Sedona International
Film Festival has been a gathering place
for the filmmaking elite. And the films?
They cover the spectrum from Oscar-
nominated to Oscar winners to world
premieres and the launching pad for
new and upcoming filmmakers.
“At a time when it seems like
everything is so topsy-turvy, we take
great pride in sending the message
that the Sedona International Film
Festival offers a level of comfort and
consistency and, of course, great
entertainment,” Schweiss said.
Modifications at screening venues will
ensure appropriate social distancing and
masks will be required for films scheduled
at the Mary D. Fisher Theater, Sedona
Performing Arts Center (SPAC), and the
two largest theaters at Harkins 6.
Bella Gaia – Beautiful Earth
is a LIVE Performance
combining visualizations
from NASA, orbital views of
Earth, cultural photography,
live music and dance from
around the World enjoyed
by Film Festival attendees
in 2020. | Photos provided by
Sedona International Film
Festival.
ARTSOURCE Arizona
67

Additional modifications include:
• To eliminate waiting lines and
congregating at the theaters, pass holders
and individual ticket buyers will be able to
choose their seats. Staggered start times
will allow filmgoers to move directly to
their seats when the doors open.
• Masks will be required in all venues
and staff and volunteers will have their
temperature taken every day.
• Northern Arizona Healthcare
professionals will be on-site to monitor
safety protocols and be available to
answer questions.
Schweiss said that filmmaker workshops
will be offered both on-site, with
attendance limited and social distancing
in place, and online. A full schedule of
workshops will be available in May.
“We are moving with an abundance
of caution and an equal abundance of
excitement because we are seeing some
incredible films coming our way and the
new features will add another level to the
Festival film experience,” Schweiss said.
Gold Passes offering unlimited films for
live viewing and Virtual Screening Passes
will go on sale in early spring with Early
Bird Discounts. Single tickets will go on
sale at a date to be announced. There
will be no 10-and-20 ticket packages
this year “because, given the reduced
seat capacity in each theater, we can’t
guarantee seats will be available if the
theaters reach capacity.”
Rob Reiner receives Lifetime Achievement Award from SIFF Director
Patrick Schweiss, shown above with Composer/Lyricist Marc Shaiman.
(Below) Reiner in conversation with SIFF attendees.
The complete lineup of films will be
available early in 2021. Those seeking
more information can visit
www.SedonaFilmFestival.com. 4
68 ARTSOURCE Arizona

C E L E B R A T I N G 2 7 Y E A R S !
The BEST independent films from around the world!
JUNE 12-20, 2021
928.282.1177 www.SedonaFilmFestival.org
ARTSOURCE Arizona
69

Shondra Jepperson
Dev Ross
70 ARTSOURCE Arizona
From the set of “Hot Flashes On the Trail” at The Blazin’ M Ranch. Photo: The Blazin' M Ranch.

The
Two Lucy s
“It’s Playtime for Grownups”
By Lynn Alison Trombetta
The forces that brought Shondra Jepperson, a talented stage
warrior, and Dev Ross, a California surfer girl together in a
place like Sedona, Arizona can only be described as magnetic.
Dev tells it like this: “Immediately after college, I worked with
a touring theatre company. I joined Actors’ Equity and was a
performer. Soon I started also writing for the company, and
eventually through working with Disney, I transitioned to
become just a writer. It was Shondra that brought me back to
performing once we connected in Arizona.”
Despite the lightheartedness, the duo shares a hidden
strength: the shared mission that “The show must go on – no
matter what.”
Dev adds, “I think she makes me better, and I make her better.
There’s no competition when we get on stage together. It’s
playtime for grown-ups!”
Much of Shondra’s story happened in California and Las
Vegas before her 2002 move to Sedona with husband, Tom
Jepperson. “I’ve been working as an entertainer professionally
since I was 16 performing both alone and with Tom and also
by having my own bands, lots of theater and loads of good
shows. I entertained there in small venues and large ones
with even thousands of people in attendance.”
The first show these multi-talented women did together was
'Nunsense.' That’s when the magnetism sparked a special kind
of magic. “I realized that my craziness matched hers,” Dev
exclaims. “And we’ve been inseparable ever since!”
Nearly in unison they add, “We were just like two peas in a
pod” … and they amusingly recalled that “we were always
being asked to shut up, be quiet, stop joking, stop laughing,
stop causing trouble. Like kindergarteners!”
Over time, their projects developed into playwriting and
songwriting together. One favorite co-creation was 'Hot
Flashes On the Trail,' their two-woman show. “I always have
her back, and she has mine. I’m a playwright and a television
writer and film writer. I’ve always teamed with somebody
who can write music. But until Shondra, I’ve never ever
ARTSOURCE Arizona
71

Photo: Kimberley Kelley
Photo: Kimberley Kelley
worked with anybody who just read my writing and said, ‘I know
what the score for this should be.’”
Photo: The Blazin’ M Ranch
Shondra reflects, “It’s an interesting thing that we came together
in Sedona with theater, which is the first focus for both of us.
Maybe three or four times in my entire life I’ve had some magical
connection with someone where things come together and the
chemistry’s fantastic on stage. I have that with Tom and I have that
with Dev, and it’s unusual. And, did I mention, we’re best friends?”
Photo: The Blazin’ M Ranch
Shondra and Dev describe their performance characters as
reminiscent of Gracie Allen and George Burns, often switching
back and forth in different performance scenarios, one playing
a Gracie and one playing a George within their characters.
“We have a ball with it and that continues into The Two Lucys.
You also definitely see that relationship in our program, Hot
Flashes.”
“The Two Lucys are two women who are defined ‘age
stereotypes’, who are beyond menopause, but also funny,” Dev
comments. “We carry this theme with us because we’re very
creative older women, and we are struggling against a world
telling us we are no longer relevant because we’re older. There
are times where you just accept it, wondering, ‘Should I retire?’
Shondra and I have both gone through that and we always lift the
other up: No! We’re not done. The fire still burns in the pit of our
stomach. We’ll drop dead on stage!”
From the set of
“Hot Flashes On the Trail”
“I never think about retiring,” Shondra says softly. “But there are
times when I don’t know what’s next. We both go through that.
But there’s a passion inside of each of us that keeps just wanting to
72 ARTSOURCE Arizona

do more. I’m really very happy when I’m onstage, and I appreciate
being part of creative teams and producing. I like everything
about this business that I get to do. And when you really
have a connection and you can trust someone on stage
and off stage, that’s unusual. You may have that in the show,
but you don’t always have it on a personal level. We’ve
got both, and I feel really blessed to be working with Dev.
We’re finding a way to reinvent what we’re doing during
these times.”
Shondra and Dev are Founders of
the annual summer improv intense
called Sedona Youth Theatre
She continues, “Bottom line is we’re of the same cloth that
way and with our heritage being two Jewish girls we’ve had
many similar life experiences. We have a similarity in many,
many ways. It keeps us inventing and reinventing.”
She adds, “The obvious influence is Lucille Ball. She was one of my
heroes, along with Carol Burnett. I used to sit in my mother’s
bathroom and make faces in the mirror to see if I could get
those faces down. My definition of The Two Lucys is a team that’s
very animated and passionate about what we do. And that’s
true when we’re together doing anything, whether on stage or
on film, we show up really big. We are strong women and we
are also comedians and also actors, producers and writers.” She
laughs, “Dev’s husband calls us ‘Lucy 1’ and ‘Lucy 2.’”
Dev jumps in, “I have to give you a little backstory on that. My
husband, John Reynolds, worked with Lucille Ball and later,
when he worked with us he said, ‘Oh my God! You guys are
like working with TWO LUCYS!’”
Discover more fun at www.TheTwoLucys.com. 4
“Nunsense” - First Production that Dev and
Shondra were in together. Shown left to right:
(Top) Shondra Jepperson, Christina Hasted
(Bottom) Dev Ross, Helen Brown, Sabrina Carlson
The Two Lucy’s co-produce six different Musical Murder
Mysteries. Shown left to right: Dev Ross, Brad Roberts,
Shondra Jepperson, Tom Jepperson
Photo: Al Comello
ARTSOURCE Arizona
73

THEArts
STATE
OF
A FEATURE FOR COMMUNITY UPDATES
NANCY LATTANZI
Arts & Culture Coordinator
City of Sedona
Photo: Rick Dembow
The Second Wave
Havasu Falls
Through pandemic times city, county and
state offices have all been placed on limited
schedules. The City of Sedona’s City Hall
Art Rotation program had several artists
scheduled for inclusion in public art shows
that did not materialize from May through
December 2020. The artists that were
exhibited on an extended schedule from
January through December 2020 are shown
in this issue of Arizona ARTSOURCE.
Beginning January 2021 the new artists
exhibited are: Ruth Holland Waddell,
Theodosia Greene, Jacqueline Jackson Jordan
and posthumously Dorothea Tanning, Helen
Jordan and Harriet McInnis. The length of the
exhibit is unknown due to Covid-19. Anyone
interested in knowing more can call Nancy
Lattanzi, Arts and Culture Coordinator
for the City of Sedona at 928-203-5078 to
receive information, or email her at
NLattanzi@sedonaaz.gov.
MIKE KOOPSEN
Award winning photographer Mike Koopsen has always been passionate about the
natural world. It is one of the reasons he moved to Sedona. His desire to capture the
spirit of the moment and preserve it for others to enjoy has never diminished. He
began taking photographs more than 25 years ago when he experimented with black
and white film to capture images of his favorite horses. Success in that initial venture
sparked a passion for wildlife, landscape and cultural photography that resulted in many
wonderful journeys across almost every continent and through nearly 70 countries.
Some of his most thrilling adventures have occurred here in the American Southwest.
During these many journeys Mike spent time in places where very few people ever
venture. It is in these places where he experienced a deep sense of awe, excitement and
inspiration, which he captures and shares for others to enjoy. Mike states, "I hope my
images will inspire others to seek out a richer, more personal connection with nature,
as well as increase awareness of the fragile and precious nature of our environment,
which we have the need to protect so future generations can enjoy the wonder I have
been blessed to experience."
Photographer Mike Koopsen & Ellie
74 ARTSOURCE Arizona

Lunch Break at the Little Colorado River
Mary Lois Brown grew up in Pennsylvania, where as a
child she enjoyed drawing and painting horses. “When I
was very young my parents gave me a 'paint by number'
set and I remember taking the left over paint to create
my own compositions. I enjoyed the creative process so
much that I took as many art related classes as I could
Oil Painter Mary Lois Brown
while in school,” said Mary Lois. After a year of studies
with Patricia Cochran in the 1970s, she learned the approach of the Old Masters and
an exciting new world of light and color opened up. For 20 years she lived at the Grand
Canyon, where she had time to explore and observe the beauty of the canyon from river
to rim and found the landscape to be an inspiration. The Grand Canyon is still her favorite
subject to paint. In 2000 she moved to the White Mountains near Show Low, Arizona and
started a new painting career, exploring the west with brush and canvas in hand. While
living there one of her dreams was to paint the depths of the Grand Canyon. A 2006
river trip there fulfilled that dream. About a year later she was invited to the Sedona
Art Center to exhibit her work celebrating rivers. After moving to Sedona in 2008, she
continues to paint, take classes, selling her work and exhibiting at their Fine Art Gallery.
4
MARY LOIS BROWN
ARTSOURCE Aspen and Lupines Arizona
In All Their Glory
75

CHEF WILLIAM TURNER
Southern Migration
Interviewed by Erick Hale
There is no doubt that food was among the first elements of human domination to receive
thoughtful aesthetic attention. That will also make food preparation perhaps our most ancient art
form.
Each successive generation of people have determined that the mastery of food preparation will be
a driving motivation in pursuing life’s abundance. The term ‘chef’ has only been around for a couple
76 ARTSOURCE Arizona

hundred years, but the dedication to food required to earn the
title has likely been around as long as we have exercised an
awareness of our habitat.
Enter Chef William Turner. Mr. Turner is surely one of those
dedicated people. Schooled in food preparation since his youth,
Chef Turner started down the path of catered preparation when
he worked as a chef for the DeBordieu (that’s pronounced Debah-doo
in South Carolina) Country Club in South Carolina.
There was a point in the creative cookery education in his
native South Carolina when Chef Turner woke up with an itch to
’taste’ more of the country and started expanding his repertoire
in the national kitchen by working in resorts from the Southeast
to the Rocky Mountains. Three years ago he landed in The Valley
here in Arizona and has worked exclusively as a private chef,
catering to small parties and hosted events ever since.
Let’s bring in the chef and dig a little deeper.
Butter Fried Oyster Salad with Chili Balsamic Reduction and Fresh Caviar
“ The kitchen has always been my special ‘happy place.’
Even after almost 30 years when I step into a clean professional kitchen
I get goosebumps and butterf lies.”
How did you finally land in Arizona?
Grilled Salmon served with Herb Risotto and Grilled Asparagus
My jobs took me to some very wonderful
places and I was confronted with different
temptations for settling down. However my
grandmother had moved to Tucson years earlier
and my aunt later followed suit so family roots
were already being established in Arizona. So
bringing my training in Southern hospitality to
the Southwest was a natural and comfortable
move following a variety of prep and catering
experiences.
Back to the early years, when did you
realize the direction you wanted to
take?
I was probably 10 or 11 years old when I
realized I loved creating new flavors. I was the
kid adding many different, healthy toppings to
my frozen pizza after school. I was always an
ARTSOURCE Arizona
77

“I am definitely a seeker of knowledge and
understanding, driven by the question,
'What 's next around the corner?'
I ’m also a bit of a risk-taker at times and
that has proven to be a helpful trait.”
William Turner is ready to serve dinner to guests at a Bachelorette Party
Fried Green Tomatoes Low Country Style
with tomato sauce, goat cheese cream and blackened shrimp
adventurous eater. But I was probably 19 or 20 when I
started to understand that I felt truly content, comfortable,
and totally at home in a kitchen. The kitchen has always
been my special “happy place.” Even after almost 30
years when I step into a clean professional kitchen I get
goosebumps and butterflies.
Do you have any specialities?
I focus on technique and contrasting flavors more than a
specific cuisine. But my roots are in the southern states,
from the South Carolina coast to New Orleans. Southern
flare is reflected in everything I do. Also I can add that
French, Italian, and Creole are probably the other styles
that are most reflected in my dishes.
Are there ingredients that you favor or disfavor?
The simple winners that I may have taken for granted
early on, I now revere. Being a private chef, I’ve found that
78 ARTSOURCE Arizona

Chef Turner presents a live cooking demo on the set of
Sonoran Living with Susan Casper and Terri Ouellette
cross utilization is huge, so the versatility of the potato
and the importance of garlic are a couple of the foods I
can't live without and of course the egg may be the most
underrated food in the world.
On the other side, I try to avoid gluten, nuts, and pork
from most dishes. Those ingredients are not necessary in
my cooking anymore. Also, processed foods have done a
number on American’s digestive systems. Allergies are also
more common, so it only makes sense to cut my use of
these back significantly.
Does each prep constitute a new canvas? Is every
preparation unique?
Although I do have set menus available, I do everything
specifically for each individual client. When I cook for
someone I want it to be unique for them. I never batch
cook or batch prep; I scratch cook as much as possible.
What are some memorable personal
accomplishments?
I was named “The #1 Private Chef in Phoenix” by
Phoenix Entrepreneurs Magazine. I was also named a
“Yelp Business All-Star.” I feel most proud of my stellar
5-star rating across all rating platforms. That particular
achievement is very special to me because the 5-star
ratings came directly from clients. I can now say that I have
cooked for more than 700 private clients ranging from
celebrities to CEOs to hundreds of happy bachelorettes
from all across the U.S. and Canada. All of the corporate
dinner parties, special anniversary dinners, small wedding
receptions, and customized bachelorette parties that I
have organized and catered for have created wonderful
memories for people. I am proud of my team and for my
assistant Laura Lieder who makes sure our clients are
over-the-top happy with the food, service and overall
experience. experience.
ARTSOURCE Arizona
79

Can you give an eggshell (I avoided nutshell)
version of Chef William Turner?
I love to take classics and give them a new twist, I cook
with love in my heart as I truly believe it comes out in the
finished product. I choose to freestyle and go where my
inspiration takes me. I'm also a little bit of a rebel – but try
not to get crazy, just to be different. I have a deep love for
food, for people, and for creating a good time. I also love
good conversation and this is something that’s bound to
happen when you’re around good food.
LEFT: Tomato Pie Stuffed Mushrooms
ABOVE: Char-Grilled Filet Mignon with a Blackberry
Demi Glace served with Homemade Scalloped Potatoes
and Grilled Asparagus
OPPOSITE: New Orleans BBQ Shrimp
80
See more at www.ChefWilliamTurner.com. 4

“My primary canvas is the palate, not the plate."
"The depth and array of f lavors I can create far exceeds the visual possibilities.
With the rise of T V Food and Instagram Food, some people are now focusing much more
on visuals and how food looks. To me, presentation certainly matters, but, not nearly
as much as f lavor, texture, depth, and consistency.”
– Chef William Turner
ARTSOURCE Arizona
81

82 ARTSOURCE Arizona

THOMAS A. PHILABAUM
THE
GLASS
By Lynn Alison Trombetta
The seductive quality of glass has thoroughly influenced
Tom Philabaum’s artistic journey. So one wonders what it
was about the glass that drew him in.
Tom grew up in Toledo, Ohio where many of his relatives had
worked in the Libbey Glass Factory. His primary introduction
to production glass was through those family members. He
spent Saturdays at the Toledo Museum of Art Education Center,
but he had never thought about glass as a possible art form to
pursue until he was in grad school studying ceramic sculpture.
“By day I was an elementary school art teacher and at night I was
working in the ceramics studio. One night my professor came to me
in the studio. He grabbed me and he said, ‘Philabaum, your ideas are
too fluid for clay. Have you ever thought about working in … (he paused
for effect) … glass?’ My hair stood on end! I asked exactly what he meant
Large Reptilian Disk Gold
ARTSOURCE Arizona
83

Tom Philabaum 1982 Today
by 'glass' and he told me there was a
Madison, Wisconsin graduate class for
glassblowing and glass forming. That
sounded really wonderful. Long story
short, I applied and got accepted and
I moved up to Madison, Wisconsin to
study glass making.”
Tom later studied with American
glass artist, Harvey Littleton. “He was
a proponent of what he called, 'The
Glass,’ not just ‘glass.’ Harvey taught
that the glass is there for us to explore
and he urged us to experiment wildly,
and not just use it for the material
itself.”
Experiment he did! Tom adds, “Glass
is obviously very seductive. It pulls
you in. It’s an incredible material.
One of my other professors warned
me to beware of the ‘seduction’ of the
material – of any material. But thanks
to Harvey, I did a lot of combining
metal and wood and glass – and
throughout my career I labored to
invent new ways of working with
glass. That was very important to me.”
Tom explained that he is no longer
blowing glass. “I’m going on 74 and it’s
kind of sad to be approaching the end
of my working career, because I am
still turned on by a lot of the things
I used to make, and the processes I
developed. I miss it! But then again, I
don’t miss it. It takes a lot of strength
and stamina to work with ‘the glass’
Red Reptilian Bag
84 ARTSOURCE Arizona

LG Scavo Bowl
“GLASS IS OBVIOUSLY VERY SEDUCTIVE. IT PULLS YOU IN...”
the way that I used to work with it,
and I don’t have that anymore …
although I still have the desire and I
still have the passion.”
And he still has his notebooks from
the many processes he developed
through the years. He comments, “I
probably will keep all my notebooks
handy. Going back through them,
they’re like journals and it’s always
kind of fun to trace through how you
got to where you ended up.”
Tom’s creative passion still flows
through the glass because it still has
its hold on him, but now he’s created
a new way to express it. “I’ve been a
three-dimensional artist most of my
Large Fused Glass Collage Painting
ARTSOURCE Arizona
85

86 ARTSOURCE Arizona
Egg Teal

"ONE NIGHT MY
PROFESSOR CAME TO
ME IN THE STUDIO.
HE GRABBED ME AND
HE SAID, ‘PHILABAUM,
YOUR IDEAS ARE TOO
FLUID FOR CLAY. HAVE
YOU EVER THOUGHT
ABOUT WORKING IN …
GLASS?’
MY HAIR STOOD ON
END!"
Sunrise Rock Sculpture
life, blowing glass and sculpting with
it,” he explains. “Right now, though,
what I’m doing is constructing twodimensional
paintings on glass in
three or four layers with enamels and
using wire, copper leaf and silver foil.
It’s really very fun.”
These latest experimentations
originate as flat paintings that
celebrate color and depth through
overlayering three or four layers of
glass. “I do a painting on the bottom
layer, put another piece of glass on top
of that, then do another painting, so
on and so on until they overlap and
they show depth.”
After reassembling the elements by
stacking the layers he then puts them
into a kiln where they are fired to
1400 degrees until they melt together,
often with happy accidents and lots of
depth.
When you talk to anyone as creative
and accomplished as Tom Philbaum,
you're naturally going to get around
Silver Thorn Chalice
ARTSOURCE Arizona
87

to asking about his favorite creative
accomplishments. Among these,
Tom mentions 30 original glass 'flying
carpets' he created as an installation
for the Tucson International Airport.
“It’s pretty cool. I call the piece,
‘Another Way to Fly’ and the colorful
glass 'carpets' swirl in an ascending
circle about 20 feet off the ground in
the airport’s ticketing level.”
To get a sense Tom's creative
collections, including those 'flying
carpets' visit his website:
www.PhilabaumGlass.com. 4
Tom with Hands On II
“Another Way to Fly” Installation at Tucson International Airport
Four Play
88 ARTSOURCE Arizona

KHRYSTYNA
KOZYUK
DANCING IN THE COLOR | 38” x 56”
“Colors and shapes inspire me ...
Being an observer first, much of my inspiration comes from the world
around us. When traveling I find myself appreciating all that the new
landscapes have to offer. Recently, my time has been spent exploring
different traditions and cultures. From the vibrant colored powders thrown
during India’s Holi festival to the rich pigments seen in Native American
headdresses; I create pieces that offer an abstract approach to these and
other wondrous occurrences in our world. Using an oversized canvas and
paint gives me the opportunity and space to experiment with a variety of
colors, textures, and shapes. In learning different techniques, I am now
using one that I have developed. Creating my own technique using liquid
paint has afforded me the ability to put my own modern spin into each
piece. My ultimate goal with my work is to open your eyes to the beauty
that is around us by showing the viewer my feelings behind each piece.”
KOZYUK GALLERY • WWW.KOZYUKGALLERY.COM • 773.817.6269
2710 W. STATE ROUTE 89A, SUITE B, SEDONA, AZ 86336
ARTSOURCE Arizona
89

90 ARTSOURCE Arizona

ARTSOURCE Arizona
91

AND ASK WHAT YOU MAY
LOOK TO THE STARS
ABOVE: NGC 2244 Rosette Nebula in Monoceros | OPPOSITE: IC 443 Jellyfish Supernova Remnant in Gemini | All Photos © Joel Quimpo
Who among us can lift their eyes to
the starry sky and fail to be humbled?
Peering into the heavens invites a
magnetic journey into places unknown. Though we
can look at images taken of the endless magnificence,
we have no way of sensing the realities. The longer we
gaze, the deeper we go, the smaller we become. And
yet we must enter the portal of mystery. We must try
to sense from whence we came.
For astronomers, scientists and artists eager to plow deeper,
eager to share sights and assumptions, the universe offers a
limitless horizon that will continue to mesmerize, enthrall
and produce a belittling effect on our collective human ego.
Who, or what, are we in the face of all of this? If it were
not for the powerfully present, yet ever-foreign side of our
being, we would prove to be mere particles of matter that
matter not a whit amongst the limitless scatter we are just
beginning to perceive.
92 ARTSOURCE Arizona

ASTRO
PHOTOGRAPHY
Introduction by Erick Hale
Joel Quimpo
Joel Quimpo chooses the forested elevations of northcentral
Arizona to call home because of the clarity of sky
and opportunities afforded by that sky to create nighttime
images for his artistic presentations.
“The stars have always captured my imagination. An
interest in astronomy started when I was young while
watching the NASA space missions and moon landings on
TV in the late 60’s and early 70’s,” explains Joel, who got
hooked on personal exploration of space after being gifted
with a small telescope by his mother. In time, he added
a camera to his acquired telescoping skills and started
creating his art.
“The ongoing improvements in camera technology have
made it possible to capture starlight with fantastic detail.
Much of what we do in astrophotography came directly
from Hubble. The Hubble Space Telescope 25 years ago
ARTSOURCE Arizona
93

CLOCKWISE from top:
| Kiluea Pele and the Eel
| Comet NEOWISE
| The Soul Among the Stars (IC 1871) Cassiopeia
94
OPPOSITE:
| Cave Nebula SH2-155 in Cepheus
All Photos © Joel Quimpo

used the most advanced cameras of its era. Hubble uses
a series of different filters to capture and isolate superheated
ionizing gases in narrow bands of light used for
building a complete photo. Since the images are usually
monochrome this allows me to choose the palette and
shape a view of the universe through creative personal
expression.
"Astrophotography is the ultimate in long-exposure
photography. It takes many hours of exposure time using
different filters to capture a photo. Every object and
condition presents challenges related to integrating it
into the final image. For example Earth’s moon affects our
weather cycles, in turn the stability of the atmosphere
affects the quality of the photos.
“The greatest threat to my work however is light
pollution,” Joel says. “Wherever people dwell they bring
light and that light for the most part pollutes the night sky.
It’s sad to say, but most people in the 21’st century have
never seen the Milky Way, nor experienced the richness of
stars in the night sky. We are essentially disconnected from
the beauty of starlight. Astrophotography though, helps to
reconnect us with the sky and the heavens above.”
ARTSOURCE Arizona
95

Starry Skies: Night in False Kiva | Photo © Joel Quimpo
Astrophotography … helps to reconnect us
with the sky and the heavens above. When I
spend the long hours tracking the sky with a
telescope and a camera with the computer
running the programs that guide it on a star
… then I am reminded that I am fortunate
to live in a place that is as dark as it is in the
Kaibab National Forest, and privileged to
be able to share that pristine starlight with
people of the planet.
– Joel Quimpo
96 ARTSOURCE Arizona
4

ARTSOURCE Arizona
97

EXPERIENCE THE ULTIMATE GALLERY
EXPERIENCE THE ULTIMATE GALLERY
“One of the Largest
and Most Unique Galleries
in the World”
You’re
You’re Invited
Invited
EXPERIENCE THE ULTIMATE
“One of the Larges
and Most Unique Gall
98 ARTSOURCE Arizona
in the World”
©2020 Exposures International LLC
©2020 Exposures International LLC
ExposuresFineArt.com Sales@ExposuresFineArt.com 561 State Route 179, Sedona, AZ 86336 928-282-1125
ExposuresFineArt.com Sales@ExposuresFineArt.com 561 State Route 179, Sedona, AZ 86336 928-282-1125