Sedona Art Source - Volume Two

Sedona Art Source Volume II features plein air artist Bill Cramer, wood carver Mike Medow, painter Allison Rae Nichols, performing artist Louis Landon, film-maker Bryan Reinhart, fashion designer Candace Walters, and chef Gerardo Moceri. Learn about the tradition of Hopi Kachina. Discover annual festivals such as the Sedona Arts Festival and Sedona Plein Air Festival plus. Find art in a variety of forms at local galleries including Exposures International Gallery of Fine Art, Son Silver West Gallery, The Village Gallery and Mountain Trails Gallery.

Sedona Art Source Volume II features plein air artist Bill Cramer, wood carver Mike Medow, painter Allison Rae Nichols, performing artist Louis Landon, film-maker Bryan Reinhart, fashion designer Candace Walters, and chef Gerardo Moceri. Learn about the tradition of Hopi Kachina. Discover annual festivals such as the Sedona Arts Festival and Sedona Plein Air Festival plus. Find art in a variety of forms at local galleries including Exposures International Gallery of Fine Art, Son Silver West Gallery, The Village Gallery and Mountain Trails Gallery.


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Sedona ARTSource

Voted Best Gallery in Sedona 10 years Running!

Ben Wright

Over 50 Renowned Artists

Local & Regional

Artists in Residence

Satellite Exhibits

Sedona Citywide

Reagan Word

Ray Tigerman


Sedona ARTSource

150 State Route 179, Sedona ◊ 928.204.1765 ◊ GoldensteinArt.com



Sedona ArtSource is back with Volume Two and my

message is simply one of gratitude for our team,

our advertisers and our thoughtful supporters. In

fulfilling our mission, this issue contains a host of

interesting articles, revelations and perspectives

from a plethora of people in the arts community.

To further that end, Volume Two introduces

Sacred Spaces, a feature that will throw light into

often unseen corners of the artist community.

Carol Kahn’s love for telling the backstory will

be unveiled in each issue with this intimate peek

into the artist’s working space that will provide

insights into the art produced while expanding

appreciation for the artists themselves. Expect

to see wonderfully creative people you know and

to be introduced to accomplished new ones in

Sacred Spaces.

In this and every issue of ArtSource people will

amaze us with their core values, commitment to

craft, and unrelenting perseverance in following

creative dreams regardless of the gravitational


Greg Lawson

6 Editor’s Message

8 Mountain Trails Gallery

Gallery Profile

10 City of Sedona

State of the Arts

14 The Art of Fashion

23 Allison Rae Nichols

Artist Spotlight

24 The Tradition of Hopi Kachina

34 Plein Air - More Than Meets the Eye



2 Sedona ARTSource

The denial

of art is the

greatest futility

— Coddington

Published by Sedona ArtSource

2679 West State Route 89A

Sedona, AZ 86336

Volume Two

Design elements by Erick Hale Agency

and Nadezda Skocajic

Printed in PRC


Sedona ArtSource is published quaterly.

Copyright © 2018 Sedona ArtSource. 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.


42 Louis Landon

The Art of Music

48 Exposures International Gallery of Fine Art

Gallery Profile

50 Mike Medow

“The Chiseler”

56 A Tribute to Sculptor, Diki Medow

58 Bryan Reinhart

The Art of Filmmaking

60 Lori Reinhart

One Thing Leads to Another

62 Sedona Arts Festival

64 Gerardo Moceri

The Cooking Starts Early

70 A Little Taste of Tchotchke Heaven

74 The Future of Arts in Sedona

Some Notes About What’s Possible

76 The Village Gallery

Gallery Profile

78 Sedona Gallery Map

80 Sedona Gallery Index





Art Director

Web Master

Writer and Public Relations


Greg Lawson

Carol Kahn

Kristina Gabrielle

Rick Cyge

Lynn Alison Trombetta

Patti Polinard







Sedona is surrounded

by inspiration! On that

day, thunderstorms

kept happening all over

the Sedona area. Rain,

lightning, and wind

can be a real challenge

when painting outside.

Beneath the clouds,

Coffee Pot Rock seemed determined to ride out the foul weather. This gave me

the inspiration to paint it, despite the brewing storms. (Pun intended.)”

— Bill Cramer

Plein Air - More Than Meets the Eye, PAGE 34

Sedona ARTSource





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Personal stories are powerful. They

entertain, inspire, teach, and even affect

our emotions. They allow us to think

about things in ways we’ve never thought of

before. In many instances, stories connect us to

one another on a much deeper level. Throughout

the pages of Sedona ArtSource there are a

multitude of stories that uncover the depths of

the artist's creative soul. These revelations are

discovered through the interview process, which

is an art in itself. We discuss everything from

how artists create, their passions, desires, talents,

ambitions, dreams, accomplishments as well

as those emotional moments of their lives. We

laugh. We cry. I believe the interview is where the

heart and soul of the story unveils itself.

After conducting more than three hundred

interviews throughout my career, I can attest

that not all interviews are the same. Each

person is different. Each story has a unique

twist. Many poignant moments unfold. But

what remains steadfast is this invisible thread of

connectedness that occurs between the person

and myself. A rhythmic interlude takes place as

if choreographed from some unknown source.

During the conversation, when we have reached

a delicate osmosis of giving and receiving, I am

handed a sacred gift – the keys that unlock their

innermost being.

Within the words of this ancient Native

American proverb lays the inherent truth:

“Tell me the facts and I’ll learn. Tell me the truth and

I’ll believe. But tell me a story and it will live in my

heart forever.”

It is an honor and a privilege to share the stories

of Sedona’s most creative individuals with you.

Their stories will always live within our hearts. It

is our hope that their stories will live in your heart

as well.


Sedona ARTSource

Lee Israel, Carol Kahn, Mike Medow


With gratitude,

Carol Kahn


Sedona ARTSource





by Patti Polinard

Mountain Trails Gallery in Tlaquepaque

is home to one of the last representational

galleries in Sedona. It has offered

traditional storytelling with historical

details in iconic Western, “Cowboy

Artists of America,” and Native American

sculpture and paintings, for over 30 years.

Their award-winning artists draw

collectors from around the world. The

gallery showcases over 50 magnificent

artists like Susan Kliewer; Betty &

Howard Carr; Lisa Danielle; Amy Lay;

Ken, Vic and Dustin Payne; to Vicki

Catapano; Michael Trcic; and Scott

Rogers. The gallery offers extraordinary art

from skillful artists whose technique and

experience match their styles. Mountain

Trails features realistic art that literally

pulls at the heart with appreciation.

Taking traditional subjects and bringing

them into a modern world … Mountain

Trails also has a contemporary edge with

artists like Troy Collins, Gregory Stocks,

and Terry Cooke Hall. This is a great

gallery for plein air art with its colorful

landscapes, floral paintings, figurative

wildlife, still life, and cultural objects with

varying contemporary styles.

It is evident the visual language in

Mountain Trails has something for every

art lover. The gallery recently added the

jewelry of Kim Yubeta, cowboy artist Curt

Mattson from the National Sculpture

Society, and the bells of Michael E. Beals.

And if you wish to experience an artist in

residence demonstrating techniques and

capturing their subject’s essence, there

are opportunities to witness this creative

process as well.

Mountain Trails Gallery at Tlaquepaque

336 SR 179, Suite A201, Sedona AZ 86336

Open 10 am - 6 pm Seven Days a Week

Phone 800-527-6556 or 928-282-3225


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By Nancy Lattanzi

The last few months have been buzzing with creative projects in the Arts & Culture

Department at the City of Sedona. Beginning with our children, our Artist in the Classroom

is a valuable program that supports arts education in the schools. The school year came to

a close with many engaging and inspiring projects being completed. Classes in photography,

writing, painting, mask making, digital storytelling, theater, poetry, clay and tile mural work

captivated our students who eagerly explored their creative abilities.


Arts & Culture Coordinator

City of Sedona

Featured artists at City Hall during the year include Harriet McInnis, whose alluring oil

paintings include landscapes, still life, and portraits. Most know Harriet as a long-time

volunteer and supporter for the arts. Not only is Harriet proficient in her work for

the arts, she is also a gifted painter, which makes exhibiting her work even more special.

Also featured was Meg Munro’s exhibit, “Beauty’s Bounty.” Her exquisite watercolor

paintings include detailed florals and whimsical Mexican scenes. Meg lived in Mexico for

30 years, where she connected to the culture and landscape. It was during these years




Sedona ARTSource

that her artistic body of work developed flowing art from

her heart and vice versa.



Earlier this year we celebrated our local

culture during our Moment of Art, presented

monthly to the City Council. Our guest for

Women’s History Month was the esteemed

Adele Seronde, life artist, author and visionary

who shared how art transforms the world.

Lisa Schnebly Heidinger spoke about her

great-grandmother Sedona Schnebly’s life and

shared stories from her new book, The Journal

of Sedona Schnebly. The Sedona Heritage

Museum celebrated it’s 20th anniversary in May

and we saw a film promoting our community’s

history. This landmark building is a true gift to

our community and a place that preserves and

educates the public as caretakers of Sedona’s


Film is an important part of Sedona’s history. June’s

Moment of Art featured a film incorporating scenes of

old Westerns filmed in Sedona. Graham Hill, a seasoned

Hollywood Film Historian visited with myself and Ron

Eland from the Red Rock News to share his passion for

Sedona’s past. Film directors have been drawn to our

iconic rock formations and unique landscape where close

to 100 films were made in our area from the 1940s to

the 1960s. Delmer Daves was one of the lesser-known

directors, yet his body of work is impressive. He filmed

all 4 movies we viewed at the City Council meetings:

Broken Arrow, Drum Beat, The Last Wagon and 3:10 to Yuma. We are

fortunate that the Sedona Heritage Museum restored the telegraph

office, which is the last structure used in these old film clips. At the

museum the public is invited to view scenes and read about the old

films from our area.

Another movie enthusiast, Joe McNeill, earned a Mayor’s Arts

Award for his 678 page book, Arizona’s Little Hollywood. This

exhaustive tome documents stories and tales that make up the

lore and legend about Sedona’s filmmaking years. Graham Hill feels

Sedona is sitting on an untapped resource. He would love to see

our legacy come to life, through those that might be interested in

developing more ways to promote our film history and educating

the public about it. His hopes are for Sedona to recognize what

the world sees from movies that has put us on the film map. Even

modern Hollywood is recognizing Sedona. The recently released

movie, Book Club, shows spectacular aerial scenes of our landscape,

which took the audience by surprise. We all clapped as Diane

Keaton looked down in awe from a

small plane and gasped, “Wow, that

is Cathedral Rock. This place is

so beautiful.”

Sedona has always been

recognized as one of the most

magnificent places in the world

and has inspired a plethora of

artists who have settled here

or just come to visit in order

to tap into their creative

muse. In the words of

Henry David Thoreau, “The

world is but a canvas to

our imagination.” We are

fortunate to live in a place

that is an iconic canvas,

which is universally

revered as such.

Sedona ARTSource


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Exploring his

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John Maisano

bronze sculptor

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Adams Artist Family

bell sculptors, painter

Rebecca Tobey

sculptor, painter

Focusing on



of animals

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stones with


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Using raw artistic

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Drawing from

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fine art jeweler

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stone sculptor

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By Carol Kahn

“Dress shabbily and they remember the dress;

dress impeccably and they remember

the woman” – Coco Chanel

Art and fashion have forever been entwined. Fashion designers have

transcended art, while artists have been inspired by fashion. In 1918, Pablo

Picasso painted Women Bathing, a portrait of women wearing provocative

Chanel bathing suits. He was fascinated by these suits and how the

women behaved wearing them.

Fashion icon Coco Chanel was a rule-breaker in life and in work.

She happily joined the creative circle of impresario Sergei Diaghilev,

who invited both Chanel and Picasso to dress rehearsals for his new

productions. Diaghilev staged “fashion parades” of costumed dancers for

the pair, seeking their opinions and suggestions. His Ballets Russes was as

famous for its highly original sets and costumes as it was for its music and


Fashion was then, and is now, big business. From designer runways,

to television shows, to the red carpet, fashion statements are made and


Sedona ARTSource


Fashion designer and

Sedona boutique owner

Sedona ARTSource 15

eported on. Coverage of “who is wearing what

outfit designed by whom” makes headlines all

the time. Fashion stylists gain notoriety when

power brokers for Hollywood’s elite clamor

for exclusivity and the perfect outfits for their


The way you dress – the clothes you wear – can

unequivocally define who you are. “There is no

road map to style. It’s about self-expression and,

above all, attitude,” says fashion icon Iris Apfel,

whose sense of style and claim to fame include

wearing owl-shaped glasses and layers of vintage

and costume jewelry. At the age of 96, Apfel’s

eclectic style, wit, and humor have earned her

the right to say what she wants about clothes and


It’s clear that Iris Apfel has a point: Clothing

can be used to express who you are. “People are

afraid of fashion,” explains Candace Walters,

owner of Victorian Cowgirl and Posh boutique in

Sedona. “I try to help women feel good in outfits

that I know look great on them. I get excited

about watching them be transformed,” she says.


Sedona ARTSource

...One of these purses

can complete an outfit.

They are art pieces!


Sedona ARTSource


I truly love helping

others find their own

particular sense of syle.



Sedona ARTSource

Candace’s passion is fashion. Growing up

in Indiana, she always knew fashion was her

destiny. After convincing her mother that she

was ready for the big city, Candace hopped on

a bus and arrived in Los Angeles, only to realize

that she wasn’t prepared for urban living. “I was

scared to death,” she says, “and I wanted to go

home, but my mother taught me never to say ‘I

can’t,’ so I persevered.” Walters attended the

Fashion Institute, studied costume design, and

worked in a women’s boutique, helping many

celebrity clients. While there, she accumulated

a portfolio and was hired as a stylist for fashion

shoots, working closely with Harry Langdon, Jr.,

one of the world’s top commercial and glamour


Candace dressed actresses Morgan Fairchild,

Charlene Tilton, and Victoria Principal from

the TV show Dallas. She worked with Diana

Ross on photo shoots and created costumes

emblazoned with rainbow fringe and lots of

sparkles for country singer Crystal Gayle.

Candace’s taste in clothes is diverse. She

appreciates various styles, from Edwardian

to vintage, from steampunk to over-the-top

glamorous. She loves the designs of John

Galliano, Christian Lacroix, Kenzo, and other

designers who have stepped out of the traditional

fashion box and created edgy haute couture.

“I have always been ahead of the times,” says

Candace. “My fashion sense is really my gift,

and I truly love helping others find their own

particular sense of style.”

As a collector of vintage clothing, buttons,

fabrics, and lace, Candace lights up as she talks

about the items she has gathered, some of which

she has trouble parting with. “I have been

Sedona ARTSource 19

Celebrity stylization by Candace Walters


Sedona ARTSource

“There is no road map to style.

It’s about self-expression and,

above all, attitude.”


collecting vintage clothing since I was twenty

years old. I have some unbelievable buttons from

the late 1800s,” she says. “It’s difficult for me to

let go of them, even though I know they would

make a fabulous statement on an outfit … There’s

a dress from the 1890s, which is my most prized

possession. It’s a little shredded now, but to see

how it is constructed, with undergarments built

into the dress, is fascinating to me … Years ago,

I created my own clothing line. I used mostly

velvet fabrics. I am going to start designing again,

this time with a ‘Ralph Lauren’ type of look.

That’s the best way I can describe it,” she says.

Glancing around Victorian Cowgirl and Posh,

people can see photographs of the celebrities for

whom Candace has worked, as well as colorful

bolts of vintage fabrics and a signature collection

from her past. Clothing, shoes, belts, scarves,

and jewelry have been carefully selected in order

to create the perfect ensemble for her customers.

Vintage handbags hang along a wall, as if the

display pays “homage to fashion of yesteryear.”

Walters says, “People often ask about the purses.

They are vintage-inspired. People seem to be

attracted to vintage, and one of these purses can

complete an outfit. They are art pieces!”

Vintage-inspired purses from

Victorian Cowgirl Boutique

The art of the purse, the art of fashion, the art

of designing clothing—past and present—these

imbue the Candace Walters persona. Her art

epitomizes the doing of something that pops out

of her head. Her joy comes from having people

recognize that it also comes from her heart.

Sedona ARTSource


24 Sedona ARTSource


Allison Rae Nichols

Inspired by themes of romantic love and

as the vehicle to express the intricacies of

partnership, Allison uses two miniature

figurines in her collection, which represent

Humphrey Bogart and Ingrid Bergman. The

characters are emboldened by a surreal journey

that offers insight into topics of vulnerability,

compromise, joy, loss and desire. Using

elements that are familiar and fanciful, she

says the goal of her work is to promote poetic

insights into the human psyche and lead to

personal discoveries that connect us to each

other as well as to the natural and spiritual


Growing up in a house full of artists, the

symmetry between art and life has always been

part of Allison’s story. From a very young age

she recognized the connections and has been

exploring them ever since. “I seek to inspire

awe and wonder," says Nichols. “The work in

my recent City Hall exhibition was inspired by

my move to the Southwest and speaks to ideas

of romance,

love, loss, and


It was a show

for lovers and

fighters and

anyone who's

taken a leap

of faith with

a person or a


It was a


show, one in

which the artist

hoped viewers


would find

meaning, camaraderie, and joy. She hopes to

provide a new lens to interpret our memories

and push our imagination about the future.

Nichols earned a BFA in painting from

Northern Illinois University

and has appeared in

numerous group and solo

exhibitions throughout

the country including such

places as Chicago, New

York and New Mexico.

She was artist-in-residence

at the Historic Santa Fe

Foundation and at Petrified

Forest National Park. After

spending two years on the

road travelling and painting

throughout America,

Nichols now lives in Sedona

and loves calling it home.

— Nancy Lattanzi

THE RIFT by Allison Rae Nichols

ALLISON RAE NICHOLS and “THE RIFT” photo: Chris Nichols

Sedona ARTSource 23

the tradition of

Hopi Kachina

By Lynn Alison Trombetta


At the Kachina House in Sedona, colorful handcrafted dolls reveal a rich

and varied history of a people and a culture nearly lost to time.

To understand the meaning of katsina dolls, you must understand

some of the Hopi culture and way of life.

Visit the Kachina House in Sedona and your attention

will be equally divided between the amazing story of a

people, and the hundreds of katsina doll faces that seem

to stand vigil on the shelves. Since 2004, Patty Topel

and sisters, Toby Frank and Judy Frank have studied,

learned and shared the art of Native Americans. They

purchase directly from the artists and ship all over

the world. “We are the largest distributor of Native

American arts and crafts in the state of Arizona,” Topel


She added, “We’re doing what we can, in this little

way, in this little business to keep this culture thriving.

That’s it. And without the traders that did this

hundreds of years ago when they were trading for flour

and getting baskets from the people, all of this would

be gone. I can’t commend us for anything; I can just say

that we’ve been able to take advantage of the fact that

other traders led the way for this. Without that, these

people couldn’t make a living doing their artwork. We

couldn’t teach anybody; the stuff would be gone. And

that would be so sad.”

About the Hopi Katsina

Also known as Kachina, Katsinam (kat-see-nam)

are spirit guides, deities, and friends of the Hopi, a

communal farming Native American people who live

in villages on a reservation in northeastern Arizona.

There are three aspects to the katsina concept among

Native American peoples: the supernatural being or

deity; the dancers and members of the community

who represent the deities in dance and for religious

ceremonies; and colorful katsina dolls carved in the

likeness of the spirit being.


Sedona ARTSource

The Spiritual

For all of time, the Hopi people have carved katsinam

to represent the hundreds of spiritual beings central to

their religion. These carved figures range from the very

simple, ‘flat form,’ or ‘traditional,’ to the ‘contemporary

form’ which is more complex. This carving tradition

is unique to the Pueblo Tribes of Arizona and New


The dolls are used to teach the women and children

about their religion and about what their katsinam

mean in the Hopi world. This transmission of custom

and belief through the represented spirit essence of

everything in the world of Hopi is most important,

because this is not written down. The children must

learn in this manner from the time they are very young.

The Dancers

Hopis believe that when they wear the masks and

regalia that depict their spiritual beings for ceremonies

and perform that particular katsina’s spirit dance, they

themselves become that supernatural being. As such,

it is believed they may cure illness, bring rain, and help

maintain balance in the Hopi world.

During the katsina season, a yearly cycle of religious

ceremonies, Hopi men wear masks passed down for

generation upon generation and dress as their katsinam

for ceremonies and to appear in the town streets and


“Only males are allowed to dance and there’s training

for that,” Topel commented. “You have to know the

songs, you have to know the dance steps, and you

have to know everything you’re supposed to do as that

particular katsina. And when you put that mask on, it is

the same mask that your great, great, great grandfather

wore. And he breathed in that same mask! Just knowing

that, just the honor that comes with that, would be

enough to drop you to your knees!”

Each katsina has special meaning: The Grandmother

katsina and Broadface are protectors; the Sunface is

very powerful because it is the sun. Maasaw, the most

powerful Hopi katsina, is said to circumnavigate the

earth every night and decide who goes on to the next life

and who does not. He decides who is good, and who is

not and it is he who controls the night and fire.

Topel estimates that there are about 650 active katsinam

right now, each with a male and female counterpart,

but all of the dancers except one are male. When

represented in human form, the dancer behind the

mask of Maasaw Mana, Maasaw’s partner, is female

because it is believed that it is necessary to have a true

female by his side to stop Maasaw from over-reaching

with his power.

The principal idea is that the katsinam are the ones who

make the dolls and then give them to the people. Yet,

the man who dances as the katsina is not necessarily the

one who carved the doll. Generally, someone else has

carved several different dolls for the ceremony, but it is

the katsina, that is, the spirit in human form, who must

hand them out. Even as adults, these are gifts from the

katsinam, they are not gifts from carvers or that

Sedona ARTSource 25


someone else purchased.

The doll is usually given along with something else, like

corn, or beans, and carries meaning and a burden of

responsibility behind the gift, thereby offering direction

to where the person should now direct his or her energy

in life.

The Dolls




The first known katsina dolls were obtained by regional

traders in the 1800s, and the collection on display at

Kachina House offers more than a glimpse into the

culture and history of the Hopi and other Plains Indians.

In the early 1900s the U.S. Government

informed the Native Americans that they could

no longer use migratory and predatory bird

feathers on their dolls. However, the regulations

weren’t truly enforced until the early 1970s when

they clamped down hard. This complicated

law dramatically altered the methods used for

making the dolls: The Hopi changed completely

to all wood carvings, and the Navajo began using

dyed turkey feathers, marabou, and rabbit skins

for their dolls. Today, the only time feathers are

used on the Hopi dolls are for the traditional

katsinam, and it is illegal to sell, buy or own any

items containing the restricted feathers.

1. (shown front and back) YELLOW AHOTE

Allen Joshevama

2. (shown front and back) BLUE AHOTE

Everett Curley (from the 1970s)


Augustine Mowa III

“Their trailing headdresses

show the difference

between the use

of feathers in the

older carving and

the carved

feathers in the



- Patty Topel

Traditionally, only cottonwood root has been used by

the Hopi for carving representations of their spiritual


It is no surprise that collectors are often drawn to the

same katsina face over and over again. According to

Topel, that may mean something. The Badger and the

Bear are powerful healers and a lot of doctors collect

them. The Sunface is very powerful. The Broadface

katsina is not only a personal protector, but also

protects against evil spirits, so it is hung by the front


The Grandmother is a powerful protector and is the

first katsina a child receives when he or she is born.

Kept inside the baby’s blankets for the first year of

life, the katsina is with him or her at all times. As the

child grows, the katsina is hung over the bed, like a

mobile. The female children will receive more complex

katsinam as they get older.

A question that Topel is often asked is about the best

way to distinguish between authentic katsinam and fake

ones. Her reply is complex.

“Only the Pueblo Indians do katsinam. The Navajo

make Kachinas, but they do them for economic reasons.

They mean nothing spiritually to the Navajo people.

Most of their doll parts are machine made and they

are pegged and glued together by the Navajo people

and painted from a color chart to replicate the Hopi

katsinam. Pricing for the Navajo dolls is much lower

and we sell plenty of them to collectors that don’t have

the funding to buy the more expensive Hopi creations.

They are nice, they may still have spiritual meaning for

the person who owns them, but they don’t have



Sedona ARTSource


“This Grandmother Katsina

is a protector and keeps the child safe ...

much like a grandmother does ...

She is the first carving an infant receives

and it is placed inside the

blankets that the baby is

wrapped in for the entire

first year of the baby’s

life. The carving is then

hung above the bed

of the child and as the

child gets older she

or he will get more

katsinam as gifts.”







Grandmother Katsina

1. Marty Naha 2. Raynard Lalo 3. Malcolm Fred 4. John Fredericks 5. Marlin Honhongva

Sedona ARTSource







1. Darrell Youvella

4. Dwight Armstrong


The Sunface

2. Leander Tenakhongva

5. Jason Curley

3. Orlan Honyumptewa

6. Joe Gash


Sedona ARTSource

collector quality. They are souvenir quality dolls. You

will know by the feathers and the price point.”

The best way to understand your purchase is through

personal education and by buying from someone

reputable. If authenticity is important to you, learn the

names of the carvers. Realize that most of the artists will

sign things differently, and in some cases they won’t

sign them at all.

The old style dolls will have mineral paint on them

and appear significantly more muted in color. In fact,

the intensity of color used to paint the katsinam offers

important clues; if the

colors are very intense, or

saturated, then they are

commercial pigments. If

they are subdued, they are

likely traditional natural

powdered pigments. Some

clay-based paints are made

with natural pigments, but

if the color is, for example,

too red, then it is likely that

a commercial additive has

been used to intensify the

hue. For other colors the

contemporary artist will use

acrylic or watercolor.

Topel explained, “If the

dolls are carved for dances

and not for the trade, when

you pick them up the paint

“The saucer holds the natural

pigments that are dry ... they

are very concentrated clay

based paint, add a little

water and paint.

It is wonderful pigment.”

- Patty Topel


Bryan Nasetoynewa

will smear and you will ruin them. If they’re produced

for the trade, then the artists use a clay-based paint

which adheres to the wood so you can pick them up and

it doesn’t rub off.” She added, “Now, in the full figures,

the really expensive ones, it’s easier to tell. Because, for

example as you look at all the Sunfaces, you’re going

to see that there’s repetition with each one in the way

the face is painted, how their regalia looks, and what

they carry in their hands. They all have a reason why

they are made to look certain ways. So really, it’s an

education process, and I think you really have to be

careful because the fakes are everywhere and they’re

getting better and better.”

In summary, the Hopi people share a complex living

history that is different by mesa and different by village,

but there are enough commonalities in the artistic

interpretation of the deities that, through observation,

the authentic pieces begin to stand apart from the fakes.

It takes a lot of knowledge overall, and a reputable

dealer, who is likely to know and will honestly tell you

if he does not know, can guide you in a purchase.

The People

Topel spoke freely of her affinity for the Hopi people

and of their respect of the natural world. Like a campfire

story, her words conjured up images from the past as

she explained that the Hopi, and in some cases, others

such as the Cherokee, share an ethic where they use

every part of an animal that they kill. They use the hide

for warmth, they use the

meat for food, they use all

of the bones; the jaw for

weapons, the rib bones for

breast plates, and they grind

the shards into powders

to be added to their food

as medicinals. Nothing is


“They use the legs as

handles for weapons,” she

explained. “They keep

the skulls. A small deer

skull with the antlers still

attached to it would be

used for a dance staff for a

medicine man. They have

rattles made from a turtle

shell after they took the

meat out of it and ate it.

The rawhide is part of a deer or a moose or buffalo or

something that they killed, soaked the skin and turned

into rawhide. Every piece is used. And something is

always left behind for the other wild animals to share

their blessings.”

This practice of using all available materials is also

evident in the other Native American crafts on display.

Their baskets are woven from local grasses and, in many

cases, the pigments used to paint the traditional, or ‘oldstyle’

katsinam are natural colors derived from berries

and plants. Boiled-down spinach produces a dull black

shade, certain dried and prepared insects yield crimson

and scarlet hues, and crushed berries provide red and


It is the traditional katsina you would see in a Hopi

home because they hang them on the wall in their one

Sedona ARTSource 29

oom house and use them as teaching tools. In some

cases, you might see an incredibly detailed figure that

one of the carvers has carved to be given at a dance.

“When you’re born into Hopi, from what I understand,

it’s not like when you are born on the outside,” Topel

remarked. “There seems to be a religious and cultural

constraint set upon you from the day you’re born. You

have responsibility for your clan, your family and for

your pueblo. You have guidelines; there are some places

you can’t go. You’ll never be higher in the Hopi class

than where you were born. You have to marry within

certain clan lines and outside of others. To outsiders it

might seem really restrictive, but it isn’t because they

know the rules from the beginning. You can see the

respect that these people have for their culture and the

history behind it. And the community is pushing really

hard to have the kids speak Hopi again. It’s critical

because if you lose your language, you lose a big piece of

who you are.”

The Kachina House offers extensive educational

material online with photos of each doll and stories

about who they are and what they stand for. Topel

mused, “I could talk about the Hopi culture, and the

dolls and the people forever. They are so respectful of


She added, “These things that I know, I’ve learned from

the Hopi people … things they have discussed with us.

I’ve learned some very interesting things. And there

are other things that they won’t talk about, and dolls

they won’t carve. We will find old ones and I’ll say, ‘Hey

guys, I’ve never seen this, make it for me.’ But they may

say, ‘I can’t.’ And that’s the answer. I never ask why. It’s

not my business, it’s not my religion, it’s not my life, and

it’s not my culture.”

The Hopi people reportedly are the only Native

American tribe that is in situ, which means they are in

the place they have always been.


Red Tail Hawk

Sedona ARTSource

Topel’s voice softened. “Everyone else, every other

tribe, every other group has been relocated by the U.S.

Government. But not the Hopi. They really are a living

history in that location. That’s important because you

can study their history and culture so much easier when

you know they haven’t lost anything. They were never

pushed, never moved out of their place. They didn’t lose

their clay beds, or their ceremonial grounds, or their

natural resources like salt for curing meat, their water

and their planting fields. They have always been there.

No one else has that.”

Sedona ARTSource


34 Sedona ARTSource

SteakHouse 89

c l a s s i c s t e a k h o u s e • m o de r n s o p h i s t i c a t i o n

steakhouse 89 works with local farmers,

purveyors, and producers to prepare

what’s fresh and in season.

Serving responsibly raised meats,

bread baked from scratch daily,

and an extensive selection of

beer, wine & cocktails.

classic Sunday Brunch

with live music.

2620 SR 89A Sedona, Arizona



Sedona ARTSource


"CATHEDRAL ROCK" in progress, by Bill Cramer


Sedona ARTSource

P lein Air


Interview by Lynn Alison Trombetta

Plein air artist, Bill Cramer, keynote speaker for the 2018 Sedona Plein Air Festival,

offers a behind the scenes glimpse into the art form, the artist’s process and the

event. This week-long celebration of natural beauty and art serves as inspiration

for painters, art collectors, and visitors alike.

SAS: The Sedona Arts Center dates back sixty years

to the founding of Sedona’s identity as an ‘art colony.’

When did their Sedona Plein Air Festival become an

annual event for the community?

BC: About two decades ago there was a resurgence

in painting outdoors, or plein air painting. Some areas

started to have plein air events; Sedona was one of the

early ones. Now they are all over the country. This is

the fourteenth year for Sedona!

SAS: Every October this week-long celebration

draws world-renowned artists and art lovers to the

beautiful Sedona landscape. When did you become


BC: My wife, Michelle and I moved to Arizona in 1993.

I have a degree in art from Cal State, Long Beach but I

wasn’t doing much with it. I didn’t know what I wanted

to do with my art. Then I read an article about plein air

painting, grabbed what I had in the house and went out

and painted in the backyard. I still have that painting!

I do a lot of rock climbing and hiking, and it occurred

to me that plein air painting might be a good way to

combine the two − be outdoors and create art. So I

just kept doing it. I began participating in the festival

about ten years ago.

SAS: The town buzzes with excitement during the

event, which creates a lot of curiosity about how it all


BC: Yes, it’s a fun event and there are workshops,

exhibits and lectures to enjoy and help artists and art

lovers understand some of the process. There are a

lot of artists who just do plein air and that’s all they

sell. But that’s not practical for everybody; maybe they

don’t live in a beautiful place where they can always

walk outside their door and paint. For the workshop I

offer, we go out and paint a couple of days, bring those

back into the studio and create an ‘en studio’ painting.

This way, people can learn how to transfer a plein air

into a more finished studio painting, which is a very

traditional way to work. So they can take their plein air

experience, bring it back home and create some fresh

new work that way.

SAS: How many artists participate?

BC: It varies, but about thirty. Most plein air events

seem to be in the twenties, some forties, and some of

the ones in other locations that aren’t juried get a lot

of participants.

People come to the Sedona event from all over the

Sedona ARTSource


country. There are so many good painters, and a lot of them

have been here previously and painted independently, so

they’re familiar with the area.

SAS: What advice do you have for someone who dreams

of someday being part of a plein air painting event?

BC: Hopefully they’ve done a lot of outdoor painting before

they start applying to shows. You really have to be on your

game to show up for those things. If you’re just starting out,

or tying to see if you want to do this, I’d say go to some of

the shows as a spectator and bring your paints, maybe ask

if you can just hang out with some of the artists … I know I

don’t mind if people just show up.

You learn a lot from the other painters about how it all

works and then you kind of morph that into your own

method. Everybody’s method is a little different, but unless

you see other people working, you might not get a good

grasp of how to do it. That’s the way I got started. I went

to some plein air events, watched other artists, took some

pictures of their equipment, asked what kind of paint

brushes they used, and then I applied to a couple of shows

that aren’t juried, events where you can just show up and


For the Sedona Plein Air Festival, you have to apply and you

get juried in. However, there are a number of shows for

beginners, or anybody really, where you just apply and go

there and paint for a week and put the paintings up for sale.

They’re not very stressful, kind of low-key, fun events. That’s

a great way to get your feet wet, meet a lot of artists and

figure out the ‘plein air’ thing.

SAS: Any tips for those getting in a little deeper?

BC: I try to let people know that the events can be kind

of stressful in some ways, but I still try to make them fun. It

seems silly, but for me the plein air events are a great chance

to hang out and relax. We will bring a cooler of beer and

some wine and make it something of an event instead of

making it all about cranking out paintings.

Also, I didn’t even think about this when I got started, but a

lot of the people that I’ve come to know at these events are

some of my best friends now and we hang out and do other

things together. So, that’s been one of the notable things

about participating that I didn’t expect. It’s been the thing

that surprised me the most, how great the people are and

how large my ‘art family’ has become. You know, you don’t

get that from being in the studio by yourself all of the time.

SAS: Let’s talk about what it’s like from behind the artist’s

easel: Painting en plein air is not necessarily always the

bucolic scene depicted in paintings from the past, and

doing art outdoors can present challenges. Is it possible

to work in less than ideal weather conditions?

BC: It depends, if it’s a light rain or wind you deal with it

best you can. If there’s lightning, maybe not! I’ve almost

been hit a couple times, like very close within yards of me.

So that’s something to be avoided. Excessive heat as well.

Any of the extremes make it difficult. But you can manage

up to a point; we’ll go out and paint in snow, we just dress

right. You can make it work. But, the weather will definitely

play a part. There are also other aspects of being outdoors:

too many tourists coming around, too many distractions and

insects. When I say insects, I mean not just on

you, but they stick to your painting!

SAS: Or maybe, wind blowing your canvases


BC: Yeah, I’ve had a couple of friends lose their

whole rig over the side of the Grand Canyon.

I’ve rescued a couple … climbed down and

retrieved their materials. Don’t use umbrellas

− that’s my advice. They’re handy to a point,

but if there’s any kind of breeze, they’re going

to blow your rig over.

SAS: While many artists work in oil, are we

likely to see other media at a plein air event?

Virgin River, Zion National Park

BC: Everybody uses all media work −

gouache, a water-based technique, watercolors,


Sedona ARTSource

“When you stand there and work

on a painting for a few hours,

you see the landscape change

and you really understand better

the lighting and the features

of the landscape; you really

start to get it.”


acrylic, and oil paints. I know at Grand Canyon they’ve

had sculptors who sculpt animals in plein air. Oil is most

common, being the most traditional, and in many ways it is

easier to handle outdoors. Acrylic paints dry very fast, but

watercolor, pastel and gouache all work fine.

SAS: I know we’ve touched on this, but do most plein air

artists work entirely outdoors, on location, to create their

paintings, or are these considered rough drafts along with

photographs for greater projects back in a studio? That is,

aside from the juried competitions, is the goal to complete

a whole painting? Or is it more about absorbing the

sensory experience, enjoying the process and then being

able to translate that into a larger, more finished piece?

BC: Yes, all of those things. You may end up with a finished

painting, you may end up with a nice sketch that you can

use for something in the studio later, it runs anywhere in

between. And you may end up with a painting you just

scrape off and that was it and you paint another. That’s

totally okay too. You learn by doing that, you know. They

don’t have to be finished paintings. During the events,

yes, you have to end up with a framed painting. But the

level of finish depends on what you are trying to achieve,

and when you are trying to achieve it. Paintings that are

done outdoors and then brought indoors to finish, we call

"pleinudios"− plein air-studio paintings. That’s a legitimate

way to work. The paintings done in the field sometimes

need a little love back in the studio to make them a better

painting: knock the bugs off, clean things off.

SAS: In summary, plein air painting is all about “seeing”

accurately, isn’t it?

BC: Yes, because if you are working from photographs,

that can have all kinds of problems. Working from photos

has become pretty common in studio, but I think to really

understand the landscapes you’ve got to go outside,

experience it, and try to paint it. When you stand there and

work on a painting for a few hours, you see the landscape

change and you really understand better the lighting and

the features of the landscape; you really start to get it.

Photographs can be deceptive, the values can be off, the

colors can be off, the proportions can be off, and if you

don’t know that, your paintings are going to be a little off.

People should be careful and understand that photography

shouldn’t be their only tool.

SAS: Going out in nature offers the opportunity to know

the place not only three dimensionally, but to feel and

smell the land as well.

BC: Yeah, I love that, I’m kind of known for hanging out in

bare feet. I’ll stop painting and go climb around and jump in

Sedona ARTSource 37

“Bridge to Forever”

Inset: Bill Cramer, Grand Canyon

the creek and really immerse myself

in that landscape a little bit, which is

one of the joys of being able to be

outside and work.

Usually, I go out in the mornings and

paint all morning. I might get one,

two, three paintings done and then

when the afternoon comes around if

it’s hot, or the light gets kind of flat, I

might take a break and then wait until evening and then do

another session. You paint sunrise to sunset during the plein

air events. Throw in some hiking to get to a certain spot

and you’re pretty wiped out by the end of the week − but

it’s worth it!

SAS: In your experience, what one thing do all of the

artists who have participated through the years have in


BC: For all the artists I have come to know and respect and

who have become friends of mine, it is two things: The love

of nature and being outdoors, and the love of the work.

They’re out there before sunrise and they stick it out pretty

much all day. And they don’t just ‘get it done,’ but there’s a

real desire to get at it.

SAS: And from the other side of the easel, you are

participating in different ways, including as the keynote

speaker for Sedona Plein Air Festival this year, correct?

the judge of the awards, so it’s all my


SAS: What do you feel is the

Festival’s greatest benefit to those

who attend and for the community

of Sedona?

BC: The community really backs

the event in more ways than can be

counted. There’s so much behind putting the event together.

The employees and volunteers are great and there are also

businesses and families that give us lodging − it’s really great.

The event draws collectors and art lovers to Sedona at

a beautiful time of year. I imagine there are a number

of tourists who come and watch, but I think these kinds

of shows in general are really a great cultural event that

is relatively new and it brings together the idea of being

outdoors and the creation of art. Also, it gives people a

greater perspective of the environment that’s around them.

You know, often people look at the painting and ask, “Well,

where’s that?” You start to talk with them about the fact

that there’s more to Sedona than just uptown; there are all

kinds of trails and places to go and interesting formations

and river canyons to check out. That helps provide a greater

perspective − it’s a way of sharpening their focus and

appreciation for where they are. They see things through

the artist’s eyes.

BC: Yes, I juried the participants and then I’m going to be


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42 Sedona ARTSource

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Sedona ARTSource

The Art of Music

Good, Good Vibrations


The comradery of seven decades of shared creativity, shared art,

and shared memories comes together in this interview with two of

“I play what I consider to be harmonically pleasing, mostly upbeat, positive music

Sedona’s most notable artists, John Henry Waddell and his wife,

Ruth ... it’s like Waddell food; I feel who like have music lived is food in for the my Verde soul, and Valley whenever near Sedona, possible I Arizona

down since at the 1970. piano and play.” – Steinway Piano Artist, Louis



By Lynn Alison Trombetta

For much of his fifty-one years as a professional

musician, pianist Louis Landon played music

written by others. Yet even in his early teens,

there was something within him that yearned to be

expressed in his own compositions. His exploration

led him from youthful years on the piano to the

guitar and what he calls “kind of a rock thing” until,

at age 18 he heard John Coltrane play and found his

way back to his piano. Studies at Berklee College of

Music, and years of jazz music followed.

In order to earn a living, Landon toured with a

variety of musicians performing in many different

styles. A pivotal point in his musical career occurred

on tour with Pucho & His Latin Soul Brothers, a

Latin jazz, soul jazz, and R&B group. “I was doing a

rehearsal and my life at the time was pretty chaotic;

I had two young kids, but I was not a happy camper

for a lot of years. I was on the road with Pucho and

we did this rehearsal in a studio and he had a Kawai

piano there. During the rehearsal, he recorded me

playing something, just on my own, just playing

around. Later he called me over, played the recording

back, and said, ‘You know, this sounds really good.

You should do a solo piano album.' ”

That single moment changed Landon’s life. Pucho

had set the stage, offered up his recording studio, and

provided the encouragement that launched a new

direction for Landon’s music. “I went into the studio

and started to record a jazz album. Out of every song

that I had written and wanted to record, nothing

“Keys for Peace” logo by Skye Landon

Sedona ARTSource 43

worked. Everything slowed down and became kind

of New Agey and calm. I got real peaceful being

in the studio with the sounds of the piano. It was

kind of my sanctuary. The music became something

completely different than I’d intended. I had no idea

what to do with it. My life was pretty crazy at the

time, but I’d get in the studio and everything would

just become peaceful and beautiful.”

Landon realized a mission: Invite peace within

through music and instill that peace in composition

and performance.

Through the creation of twenty-six albums, nineteen

of which are solo piano, Landon discovered a

second mission: Inspire people to live joyously and

passionately. His compositions soon began to reflect

that ideal. “That started to come out … the palette

Photo by Tom Bushey

Art is creative and elevates people. I put experience, emotion, and intention into

the music as much as possible so that I bring people to the place where I go

when I am creating or I’m inspired.


was broadened … it wasn’t just peaceful music – it

was all this."

Landon reflected on his music as art, “Music was

the only thing I stayed with in my life. I play what I

consider to be harmonically pleasing, mostly upbeat,

positive music … it’s like food: I feel like music is food

for my soul, and whenever possible, I sit down at the

piano and play.”

He added, “My job is to go as deep as I can within

and then to play from that ‘most, deepest place’ and

put everything into the music that I intended when I

wrote it so that it goes out there. That brings me back

to my mission: that my music creates peace and inner

harmony. Life changed for me when I realized that as

an artist, my job is to take the people somewhere, to

do something for people – it’s not about me.”

Photo by Staci Jacobsen


Sedona ARTSource

Sedona pianist Louis Landon has a mission:

Invite peace within through music.

Instill peace in composition and performance.

Sedona ARTSource


48 Sedona ARTSource

Sedona ARTSource





Art From The Heart

Every great dream begins with a dreamer.

By Carol Kahn

Within the walls of one of the largest

galleries in the Southwest, people will

discover the dreams and passions of over a

hundred artists who share their vision and imagination

through art. Their works are inspiring and thoughtprovoking.

Over 20,000 square feet of paintings,

sculpture, glass, mixed media, ceramic, and jewelry are

exhibited throughout Exposures International Gallery

of Fine Art, which is a powerful tribute to a dream, the

dream of Marty and Diane Herman. Twenty-two years

ago, Marty and Diane reached for the stars and helped

to change the landscape of what is called “Gallery

Row” in Sedona. They both share an Affaire de Coeur

with art, a testament of their love for one another,

as well as for the world of art. Extremely passionate

about their gallery and the artists they represent,

Marty and Diane believe that art should be an essential

part of everyone’s life.

It is said, “Art is in the eye of the beholder.” To Marty,

this adage is accurate. “I can tell whether or not

you like a piece by checking your pulse. Your heart

beats that much

faster when you see

something that you

love. I believe it’s a

part of our DNA,”

he says, smiling.

Diane & Marty Herman

The people who visit

Exposures International Gallery of Fine Art come

from around the world. Many who walk through the

doors know about fine art, but others are sometimes

intimidated by the experience. “We are very sensitive

and in-tune to what people want when they come

into our gallery,” says Marty. “We may be their first

and only exposure to fine art. It is a big responsibility

that we take seriously. Our job is to make them feel

comfortable and educate them about the artists we


The gallery is designed to let visitors sense the art.

The atmosphere is comfortable and unpretentious.

The Hermans’ focus is on their customers and on


Sedona ARTSource

educating them about the artists, not on the

gallery per se. It is of great importance that

they uphold the highest level of honesty

and integrity in dealing with their clients.

“Many of our customers are thankful and

appreciative of the experience, and they will

come back again and again,” says Marty. “We

have to get it right the first time; otherwise,

there won’t be a second, third, or fourth


Owning an art gallery is a challenging

business today and many gallery owners will

tell you that they are in it for the sheer love of

the art. Owners act as liaisons between the

artist and the client and have a responsibility

to sell the artwork. Marty says this is a

partnership created without pretense. “The

artists we have at the gallery are important

to us, and we want to be important to them.

What that means is that both parties do as

much as we can for each other. Many of the

artists at Exposures International Gallery of

Fine Art are filled with gratitude to be a part

of the gallery.” To them, looking to Marty for

mentorship is a worthwhile experience. He

has offered advice to those who have asked for

his guidance. “We don’t have arrogant artists

here. It is a prerequisite that they have to be

nice. We have avoided the representation of

some really great artists that we felt needed

an attitude adjustment. My belief is that if it

doesn’t sell, we shouldn’t have it. At the end

of the day, the gallery is a business. I have to

make a profit to keep the doors open and the

lights on and to be able to pay our consultants

— so, I choose artwork that will sell, and we

do have a lot of great work here.”

Exposures International Gallery of Fine Art offers the

work of acclaimed artists such as Bill Worrell, Yuroz,

Rebecca Tobey, Doug Adams, Alexander Volkov,

Barbara Westwood, JD Challenger, Kim Obrzut, and

local artists Frasca and Halliday, as well as other fine

artists. Traveling the world extensively and visiting

a multitude of art galleries, Marty knew, before his

vision became a reality, what he wanted to do. “I have

been to a lot of galleries and hated most of them with

the exception of one or two. I remember that no one

ever got up to greet me, and I knew immediately that

was not the kind of attitude I wanted to project in my

gallery,” he says emphatically.

Oils on Canvas by Yuroz

As a collector

himself, Marty

owns work

that embraces


and love. “I


the emotion,”

he says.


I own or

purchase is

tied to that


Art from the

Heart” is the


SELF MADE MAN Bronze by Bobbie Carlyle metaphor of


International Gallery of Fine Art and the love that

goes into it. “I do realize that I am competitive. I don’t

want to be just smart or clever. I want to win. But I

also enjoy giving back — so it all comes down to just

doing the right thing, not only for the business, but

for the artists and the clients. I employ both creativity

and integrity, and together they work beautifully. But

know this, I’m also having fun. I still get excited about

everything involved with art ... Now, if I could just

build a second level on this gallery with escalators —

that would be amazing!”

Exposures International Gallery of Fine Art is located at

561 State Route 179, Sedona. Open Monday-Sunday,

10:00 am to 5:30 pm. (928)282-1125 ExposuresFineArt.com

Sedona ARTSource 49

50 years of carving, chiseling, scraping, sanding, smoothing and sculpting all kinds of wood into anything and everything he imagines.


Mike Medow

“Live your life

loving what you do

and always

have fun while

doing it.”


Sedona ARTSource

Art & Soul


The Chiseler

By Carol Kahn

The Back-Story

I first met Mike Medow in January

2016 while working on a project for

Red Rock TV 16 and the Sedona

Chamber of Commerce and

Tourism Bureau. He was one of

four artists selected for a series that

I produced called “Art & Soul.” It

was beautifully filmed and edited by

Lee Israel.

As we pulled into his driveway,

Mike graciously met us at the door.

With a big smile, he welcomed

us into his studio. This studio is

like no other. Not only is it Mike

Medow’s sacred space, it is home

to hundreds of his creations.

Scanning the room, there was so

much to see, and we didn’t want to

miss one thing. Marionettes, in all

sizes, dangle from their strings as

they patiently wait for that tug that

will bring them to life. Hand-held

masks with comical expressions

beckon to be held. A mural filled

with caricature images of people

from all nationalities wanting to be

discovered. There are paintings,

musical instruments, animals,

miniature houses, artist tools, and

of course, raw wood. Everything

is in its proper place. As he circled

the room, he talked about the birth

of his creations, his adventures,

his treasures and his family. It was

the stories about his family that

brought tears to our eyes, and gave

us a greater understanding and

insight of how big his heart is.

We spent two days watching him

play with his toys as he entertained

us. Quickly, we were immersed

into his fantasy world, and without

hesitation we eagerly followed.

He led us down a rabbit hole,

only to experience a whimsical

and fun ‘Alice in Wonderland’

kind of adventure. He wanted to

demonstrate one of his marionettes

and carefully selected a Bob

Marley-looking character. He

placed his hands strategically on

the constructed paddles as he

maneuvered the strings, bringing it

to life. The puppet-master was in

complete control of his puppet even

as the ritual began. He sang while

they danced around the room in

perfect synchronicity.

As he performed, we were highly

entertained. We had ringside seats.

He gave us a free pass to act like

kids again. Handing us a bunch

of wooden masks that he carved,

we were instructed to choose our

favorite. Behind them we acted

silly, talked in different voices with

fun accents, laughed, and captured

these memorable moments on


Mike Medow, artist, wood sculptor,

painter, puppeteer and creative

extraordinaire, made us laugh; he

made us cry, and he touched our

heart in a very special way. At the

end of the day, he taught us many

valuable life lessons. But the one

that stuck with us the most is this:

Sedona ARTSource


Self-portrait, Mike Medow at work

Yoga Pose, Jelutong Wood

To live your life loving what you do

and to always have fun while doing


A Trip Down Memory Lane

Ever since he was a child Mike

Medow was creating things. At

age 11, a friend’s mother noticed his

talent and kindly offered to send

him to art school, but he wasn’t

interested in going to school all

day and then having to end the

day going to school again. Instead,

he chose to teach himself how to

create art in his own way.

Twelve years later, while working

at a clothing store in Chicago,

he sculpted three large wooden

heads that were placed on display

in the window. One day a man,

finding value in Mike's work, came

in and offered $900 for the heads.

With that money, Mike traveled

to England, the Netherlands,

Afghanistan, and finally to India. It

was a trip he had planned with two

other friends. “I thought, ‘Wow,

some guy gave me money for that!

That’s going to be my job when I

get back. I’m going to be a wood

sculptor.' I thought about that

every day for five and a half months.

The second day after I got home,

I bought four chisels and never

looked back. I did little else but

carve wood,” he says.

Over the years, Mike acquired

more tools of his trade. Mallets,

chisels, handsaws, rifflers, files


Sedona ARTSource

and sandpaper – all

carefully arranged and

organized along the wall

of his studio. He prefers

using hand tools instead

of power tools because

these allow him to feel

a connection with the

wood. Notebooks of his sketches

are carefully organized and piled

high. These contain his life’s

work. “I don’t usually plan too far

in advance on what I am going to

create. After all these years I still

don’t know how I do what I do. It

comes from somewhere else. I don’t

feel like I am spiritual, but when

I am working, I am centered. I

believe it comes from a higher place.

I am not sure where that is – I just

know how to make stuff,” he says

with a twinkle in his eye.

It is the tapping sound of the mallet

against the wood, the aroma of the

wood itself and his connection

with nature that gives Mike that

euphoric high necessary to create

his whimsical masterpieces. There

is this sense of calmness and being

in something of a meditative state

that he relishes. Many times he

will sit in his studio and canvas the

years of his work in wonderment.

It is hard for him to believe that

he is the one who created all

this “fun stuff,” as he describes

it. It’s been more than 50 years

of carving, chiseling, scraping,

sanding, smoothing and sculpting

all kinds of wood into anything

and everything he imagines. He

enjoys working with black walnut,

juniper, jelutong, mahogany and

cherry. He says, physically it is hard

work, yet he can’t wait to get up in

the morning to do it all over again.

There are many times he forgets to

eat, unless his wife, Paula, reminds


“This is something deep inside me

that I feel like I have to do. I need

to be creative. It’s who I am.”

18 Months Later

“The Whimsical Village of Medow”

“I’m in total bliss! It’s a high!

Nothing else on my mind, just me

and my work – that’s why I look so

good at 105!”

Mike Medow smiles, as he knows

you will laugh at his quips and that

just encourages him to tell more.

At age 74 he is still a child at heart.

He is the court jester of his own

artistic kingdom. He can’t wait for

the fun to begin. Today, his studio

is a little different than a year and

a half ago. The outside façade is

brand new as he added signature

wooden doors to his home and

studio. It was a surprise gift for his

wife, Paula. “Paula left town and it

gave me incentive to do it. I wanted

it to be a secret. I picked her up at

the airport, and when we pulled

into the driveway she asked why the

flowers looked so good. She knew

something was different, but didn’t

see the doors. When she realized

what I had done, she started to cry.

I didn’t think she would cry,” he

says, smiling.

His workshop is still filled with

many of his amazing wooden

creations. Some are put away to

make room for new work, miniature

houses and other structures he has

built. Among these are a medieval

castle, a tree house, log cabin, a shoe

house and a model of his brother’s

home in Formentera, Spain. His

ingenious housing development

could be appropriately dubbed

the “The Whimsical Village of


Sadly, the tools and workbench

have been put away. The pain in

his shoulder is now too great for

him to continue pounding the

mallet against the wood. It bothers

him to think about it, but in the

next breath, with a mischievous

Sedona ARTSource


A collage of Mike Medow’s Multimedia Productions

smile, he discusses the new and innovative way he is

working his craft. “Since you have been here last,”

he says, (referring to my January 2016 interview), “I

have been making ukuleles.” He proudly opens a case

containing a Johnny Marvin ukulele

made in ribbon mahogany that

belonged to his father. “My Dad

used to play this when he was 21. My

Mom would tell me that he would

bring the ukulele to the beach and

the girls would gather around. My

Dad was a good looking guy!”

Inspired by his father’s musical

prowess, Mike decided to carve out

his own story, and to build his own

ukulele. He acquired some pieces of

juniper and mesquite wood, then he watched YouTube

videos to learn how the ukulele was constructed. “I was

on cloud nine all week after I made these. They play


As he picks up his newly made masterpiece, an

impromptu performance begins. He positions his

fingers on one of the four strings, trying to remember

the chords while singing slightly out of tune. It’s

time for ‘ukulele karaoke’ as

Mike Medow plays a song from

Taj Mahal and you can see he is

in utter bliss. “I’m not a musical

genius,” he says laughing, “but I

keep surprising myself because I am

making progress. Now I feel like

I can create anything, because if I

made these ukuleles, and they work,

perhaps I can do anything!”

Surveying his updated creative

space, I see there are photos on

the shelves of his brother, Diki, as well as a painting

of Diki’s home in Formentera. Mike began discussing

the recent passing of his brother. “His birth name was

Richard Arnold Medow, but we never called him by his

56 54

Sedona ARTSource

“Size 7” Alligator Juniper

Diki Medow's island home in Formentera, Spain, by Mike Medow

first name,” he said. “He always

went by Diki. He was 4 years older

than I and he was 78 years old

when he died.”

Diki lived on the island of

Formentera, which is the smallest

of Spain’s Balearic Islands in the

Mediterranean Sea. It’s only

reachable by ferry from its betterknown

island neighbor, Ibiza.

“Many years ago, in 1967, I told

a buddy I wanted to go visit my

brother. The two of us went to

Barcelona, hopped on two separate

boats to get to Ibiza. When we got

off the boat at our stop I didn’t see

one person, or even one building.

I was convinced we got off at the

wrong place and we were stuck

there forever. When the boat

left us on the dock, I thought we

were going to die! I don’t even

know how to swim! We wandered

around for an hour and a half

searching for my brother until we

finally found him. He didn’t even

know we were coming!”

Although Mike and Diki were

brothers and grew up in


together, they lived polar opposite

lives and had little physical

contact. Yet there was still a deep

connection; they understood and

respected their differences. Mike

talked about his brother as a tear

fell from his eye, “Everyone on

the island knew Diki. He was

comfortable; he had no money.

I don’t know anyone who lived

like he did. He had no running

water or electricity. He told

himself he would never be unhappy

again. He wanted to be free, and

serendipitously he found his own

paradise in Formentera. His was an

interesting way of life and he was

always on my mind. Writing was

our only form of communication,

unless his kids were visiting him,

and then we would use FaceTime.”

(See Tribute to Diki Medow, page 56)

Mike Medow is a sensitive, funny

man. He loves to make you smile

and laugh. He has one of the

biggest hearts. He describes art as

something that creates emotion

but acknowledges that for him art

in itself is hard to define. “I never

worked because of the money, it’s

about making something I love to

make. I am so fortunate that people

want to buy it. I never got rich,

making all of this, but I am rich. I

am blessed with a beautiful wife

and kids. What more can I ask


Mike Medow is represented

by Goldenstein Gallery

in Sedona.

Sedona ARTSource


A Tribute to Diki Medow,

Diki Medow Wanted Freedom. Sculptor, 1940-2018

Growing up in Chicago, Diki said

the 1950s was a time of paranoia

and felt the American public

was being brainwashed with a barrage of

television nonsense. The way of the world

made him unhappy. He felt alienated, lost,

and unprepared for a life with rules and

regulations as he searched for a better place.

Through his travels he came upon the island of Formentera,

which is the smallest of Spain’s Balearic Islands in the

Mediterranean Sea. It’s reachable by ferry from its betterknown

island neighbor, Ibiza. Since the 1960s, Formentera

has been attractive as a destination for the hippie community.

It was once considered part of the “Hippies

trail” that ran from Europe to India —

an underground railroad of stoners

and people seeking a perpetual

bohemian vacation.

A model of Diki’s house in Formentera, made by his brother, Mike Medow.

It was Diki’s belief that

in order to be free, you

need to live a life without

attachment. And if you

can live a life without

attachment you will

live a life of richness.

His house had no running water or electricity, but the view to the Mediterranean was exquisite. The weather

determined how he was going to live that day, which is hard for most of us to comprehend. He felt so rich

and proud to live a very simple life, without wants or needs. “When you look at yourself humbly, you become

closer to who you are,” Diki said.


Sedona ARTSource

“My brother, Mike, came to visit. He

brought me a set of tools: A knife, chisels,

mallet, and knife sharpener. He made a

sculpture in front of me rather quickly and

left me the tools. I told him I didn’t think

I could do a sculpture and he replied, “You

only need two things: To like working

with your hands and lots of time. Now

you have both!” I searched Formentera for

wood and found a small piece of an olive

tree. As I began working, it felt awkward at

first, but before I finished, I had this feeling

that this sculpting was a wonderful thing

for me to do. Since then, I called myself a


His first sculpture was the most difficult, he said,

simply because he didn’t know what he was doing.

Soon he came to realize that all he needed to do was

follow the wood and it would take him where he

needed to go. Metaphorically, this particular lesson

sounds like his life and his quest for freedom.

“My brother is my inspiration … and to work in

nature and with nature, the peace and feeling

that I have goes into my woodcarving. At my age,

everything is difficult. I accept that.”

In the end, a beauty in it all, is that Diki Medow

lived a life in his paradise, nurtured by a brother’s

thoughtful attention and fulfilled by the awakening

of his own creative spirit.

Sedona ARTSource





By Carol Kahn

“Film is one of the most powerful mediums to tell

stories. It’s a forum to reach the masses and tell the

truth about a particular subject.” — Bryan Reinhart

Bryan Reinhart is a filmmaker with a 360-degree

view of what it takes to produce, direct, and

shoot films. His resumè includes: Editor,

Cinematographer, Actor, Writer, Projectionist,

and Teacher. Most of the time, he works as a

projectionist for the Mary D. Fisher Theatre and

the Sedona International Film Festival, but in his

spare time, he does what he loves — making films.

A native of Northwest Indiana, Reinhart was

raised in a theatrical family and was on stage by

age six. By thirteen, he was making short films.

In his first Hollywood experience, he produced a

documentary on the feature film Hoosiers. Reinhart

went on to produce the nationally televised

American Highways for Public Television.

Last year, Bryan completed a film titled Born to

Rewild that was shown during the 23rd Sedona

International Film Festival. He did it to honor a

friend, Ed George, a Cinematographer who died

suddenly of a heart attack before the documentary

could be finished. This film chronicles the amazing

5,000 mile-long expedition of outdoor adventurer

and conservationist John Davis, who, in search of

wildlife corridors, traveled along a landscape that

runs from Mexico to Canada.

“It was really sudden. I received a call asking if I

could fill in the gaps,” says Bryan. “Ed had a third

of it done; I just finished the other two-thirds,

trying to do it in his style — the way he would have

done it. Ironically, we showed it at the Sedona Film

Festival almost a year to the day of his passing.

“Filmmaking is one of the most powerful mediums

we have, especially documentaries,” says Bryan.

“But we have to be careful with the message. There

are people out there who will twist the truth and

abuse what documentaries are supposed to be

about. Journalistically, there is a code of ethics

at play here. Storytelling in this form can be

extremely powerful and can reach a lot of people.

Therefore, it’s important to research the topic in

order to get the facts right, interview the subjects

for their perspectives, and keep the storyline

focused, so that the audience will understand the

point to the story.

“You have to be a reporter, a journalist, a

documentary producer. You also have to be open,

in case the story goes where you didn’t expect it.

That’s when the magic happens. Those magical

moments are few and far between, but when they

do occur, you recognize it in an instant. It’s an

amazing feeling! It could be something as simple as

one sentence that becomes the title of the movie. I

love when something unexpected happens!”

Documentary filmmaking is about capturing

reality. The script is often written after the

shooting has begun, and the story unfolds as

events occur. With narrative filmmaking, on

the other hand, the story and script are crafted

in the beginning. Bryan’s preference is to direct

narrative films, rather than documentaries, even

though these two forms have many similarities.

“Filmmaking, whether a documentary or a

narrative, utilizes many of the components

associated with art. Cameras are used to capture

the visual element; audio for sound; music creates

an emotional impact; writing emphasizes the

storyline; actors are used to relate the narrative.

Film is really a collaborative art form; it is not

a one-person art form. Everything I have been

working on by myself is still sitting on the shelf

in my house. But anything I am working on with

a group of people — that’s what gets done. I love

collaboration and brainstorming,” says Bryan.

“It’s my favorite part of the process.”


Sedona ARTSource

There is a process

to filmmaking, and

learning curves are

inevitable. Bryan

knows that all too

well. He used to be

an instructor at the

Zaki Gordon Institute

for Independent

Filmmaking and

the Sedona Film

School. He was

the coordinator of

the documentary

program for eight

years before the school

closed. Today, he still

finds time to teach

filmmaking at the Sedona Arts Center.

“First of all, teaching humbles you. You think you

have all the answers, but then you realize, ‘Oh, I don’t

have all the answers’ and you begin to learn from your

students. I try to educate them to be flexible in their

careers. Too many times people believe that if they

can’t actually do what they want to do, they should quit.

Others allow their wounded ego to get the best of them.

Instead, both types need to try again — another attempt

might get their foot in the door. That doesn’t mean you

can’t be great at what you do immediately, but if you try

to be Steven Spielberg right out of the gate, it might not

work out the way you expected.

“When someone tells me they are a filmmaker, my

first reaction is, ‘Oh, I’m so sorry!’ I try to tell budding

filmmakers, ‘Film festivals may not be the place to

launch your career, but they are good ways of getting

your films out there and seeing how people react to

them.’ The younger filmmakers coming to the festival

will learn what it’s like to make a living by making films.

A lot of them don’t want to compromise. They come

into the business wanting to be a Director and nothing

else. I have seen some great films and try to find the

person who made it in order to follow their career …

only to find out that they are no longer in the business.

That bothers me. Then, there are others who keep

themselves open to do other things and at least stay

within the industry. It’s a curse. It’s not something you

want to do, it’s something you have to do. Sometimes, I

wish that I could do something else, but filmmaking just

“People have forgotten how to tell a story.

Stories don’t have a middle or an end anymore.

They usually have a beginning that never stops beginning.”

keeps coming back.

There have been

times when I said

I am going to quit,

and then it sucks

me back in again.

So, I guess I am

sticking with this."

— Steven Spielberg

Bryan Reinhart and crew on location in Sedona, Arizona

At one point,

Bryan wanted to

be just like Steven

Spielberg, whose

work he admires,

but the lifestyle

in Los Angeles

was too much of a

deterrent for him

and his family.

“My wife Lori has been a huge supporter, and she

encourages me to do what I love. I can tell you this, I

wouldn’t want to be married to me,” he laughs.

“I always believe in ‘picking the freedom you want.’ It’s

my motto. I asked myself, is living in Hollywood and

making those kinds of movies the freedom I want? If

it is, then I’d have to pay a heavy price to live there,

around millions of people, fighting traffic every day. If I

can find what I love to do, in a place and living a lifestyle

that makes me happy, then it doesn’t matter where I do

it, just as long as I am doing what I love — and Sedona

is that perfect place!”

Sedona ARTSource 59



One Thing Leads to Another…

By Lynn Alison Trombetta

By Lynn Alison Trombetta

The Sedona Cultural Park was Lori

Reinhart’s first introduction to the

events world in Sedona. Hired as box

office staff prior to the Cultural Park

opening in May of 2000, little did she

know that job would lead to a career

working with two of Sedona’s most

celebrated events: The Sedona Arts

Festival and the Sedona Film Festival.

“I’d been in Sedona for a couple

of years before that job happened.

About the same time that I started

working for the Cultural Park, my

husband, Bryan started working

for the film school. We were both

right there on that Yavapai College

property ... it was great. I would walk

around out there thinking, ‘I can’t

believe this is real!’”

At that time the Sedona Film

Festival was a product of the Sedona

Cultural Park, and Reinhart became

involved with their box office as

well. When the Sedona Cultural

Park quit operations, Reinhart stayed

active with the Film Festival. She

explained, “When Patrick Schweiss

came on as Executive Director for

the Film Festival he asked me to

manage the box office. So for years

62 60 Sedona ARTSource

“Never in a million

years did I think

I would be in events!

But now, after twenty

years I can say,

‘Yes, I am an

events person.’

That’s what I do.”


I was seasonal, I would come in and

work for the Film Festival from the

beginning of November until the

end of March, and then I would move

on to the jazz festival in the summer.

I worked with Jazz on the Rocks for

probably four summers before it


When the Executive Director

position for the Sedona Arts Festival

came available, Reinhart was the

perfect candidate. Soon, the Mary

D. Fisher Theatre was built. New

ticketing software needed to be

installed, and her combined position

became year round. Ten years have

passed, with her serving as Executive

Director for the Sedona Arts Festival

for nine of those years.

She commented, “I work for two

non-profits, the Film Festival and

the Arts Festival. It’s actually been a

lovely arrangement because they’re

in two different seasons, and it’s all

consuming in different times of the

year. So it works out great.”

The Sedona Arts Festival has

benefitted from Reinhart’s previous

experience with the various

associations and ties to the music and art communities, and on a few occasions

has been able to do collaborations with the Film Festival and show a film at the

Mary D. Fisher Theatre as part of the Arts Festival.

Reinhart and husband, Bryan Reinhart had moved to the area shortly before

she began working for the Sedona Cultural Park. Both grew up in northwest

Indiana, just outside of Chicago and have known each other since their teen

years. She added, “And then, the last year of college, he came to visit a friend

who was living with his girlfriend and all they did was fight. I lived a block away

and Bryan would run to me and say, ‘Those two are fighting again, can I come

here?’ And of course, we were already friends and liked each other, so our

relationship developed from there.”

She continued, “He’s from a big family of eight. They never went anywhere and

he never got to travel, while I traveled extensively as a kid. One year, our choir

was going to a musical in Chicago and Bryan plunked himself down on the bus

seat next to me and said, ‘I hear you’ve been to the Grand Canyon. Tell me

about the Grand Canyon.’ So we talked all about it and when we started dating,

the first thing we did was go to the Grand Canyon on spring break. Then we

ended up getting engaged at the Grand Canyon, and now we live an hour and a

half from there!”

Reinhart was a psychology major and went into social work right after college.

“I learned in very quick time it is a low pay-high burnout area and decided I

wasn’t going to do that. As an aspiring filmmaker, Bryan wanted to go and do

the LA thing for a while, and he also worked on movies here in Arizona. So for

me it was just sort of like, ‘we’ll go together.’ I wasn’t really career-oriented, like

‘this is what I have to do with my life,’ whereas Bryan is very much, ‘this is what

I have to do with my life!’ And so I just always took jobs at whatever worked.

We didn’t stay in L.A. for long; it sucks you up, spits you out and we made that

life choice based on what we wanted our quality of life to be.”

It was back in Indiana that they married, bought a house, and had two children,

but a different lifestyle called to them. The decision to move to northern

Arizona came swiftly. Reinhart explained, “My daughter was just two and we

were on spring break. Since my parents were snowbirds and my sister has

lived in Phoenix since 1972, we decided to go there and get away from the bad

weather. While there, Bryan saw an ad in the Phoenix paper for an editor’s job

in Sedona. We came up and interviewed and took it on the spot. When we

left to go back to Indiana, we didn’t tell any of our family that we were going to

leave. We sold our house and we were back here in six weeks!”

Reinhart reminisced, “It took us a good solid three years to know that we were

going to stay. It’s not a place where you can easily get work and make a living. It

was about three years before Bryan got hired at the film school, then I got the

gig at the Cultural Park and it’s been good ever since then. So it has worked

out. Bryan’s gone back to being a freelance filmmaker and is working on a big

film right now. My situation, being able to blend the Arts Festival and the Film

Festival together, working two separate three-quarter-time jobs makes me a

living here. And I feel very fortunate that I have that.”

She added, “Never in a million years did I think I would be in events! But now,

after twenty years I can say, “Yes, I am an events person. That’s what I do.”

Sedona ARTSource


Lori Reinhart


SAS: Lori, as Executive Director of

the Sedona Arts Festival, please share

your thoughts on the Festival, both

past and present.

LR: First and foremost, I think that the

Arts Festival is the longest continuous

event that there is in Sedona right

now. This is our 28th year! There’s

pride in that. When it started in

1989, it was the Apple Festival, and it

was very much a community event. It

wasn’t focused only on art. Over time

that’s what the focus became.

Today, the Festival attracts artists from

across the country, and showcases

a diverse lineup of over 100 juried

artists as well as continuous live

music, food, and fun art projects for

the kids. The event as a whole is

well respected. People in town look

forward to it all year, visitors plan their

vacations around when it is going

to be. And it’s always the second

weekend in October.

SAS: Behind the festivities,

approximately $300,000 has been

distributed to arts education groups

as well as to graduating seniors

pursuing higher education in the arts

since the Festival’s inception in 1989.

LR: Yes, I think the Festival’s biggest

contribution to the community is

that we are supporting scholarships

and grants. Kids who are pursuing

a career in the arts in college are

eligible for our scholarships. We

give anything from $250 to $2000.

Depending on their need and where

they’re going and how much we have

available to give each year. There are

a lot of factors that go into the award


Then there’s the Grants program,

which has funded projects like

Gardens for Humanity, and Camp

Bear Wallow. There are several

organizations that have been the

recipients of funding provided by the

Sedona Arts Festival.

SAS: Going forward, what one

message about the Festival would you

most like to impart?

LR: The Sedona Arts Festival is

really the sole fundraiser for that

education piece. Many don’t realize

that the Festival is a fundraiser for the

community. In spite of the fact that we

heavily promote it; it’s in everything we

print, it's in our Mission statement, and

on our website, but still often people

will say to me is, “I didn’t know that!”

SAS: What’s the most rewarding part

of your job as Executive Director of

the Sedona Arts Festival?

LR: Probably the most rewarding part

of my job is going to those scholarship

award ceremonies and giving out

those award amounts. It just feels

good to contribute to a kid’s future,

even if it’s in a small way.

Above: Aerial view of the Sedona Arts Festival


Sedona ARTSource

Meadowlark Trio

Music Among the

Red Rocks of Sedona

In addition to fine arts and crafts, continuous live music is featured

throughout the annual Sedona Arts Festival with special performances by

two innovative groups whose music is inspired by the natural environment;

William Eaton and his group Earth Speak and Rick Cyge’s trio, Meadowlark.


William Eaton, a four-time Grammy nominee, has recorded sixteen

albums for Canyon Records and tours nationally and internationally.

Earth Speak offers a soundscape fusion of folk, new age, world music

and jazz, blending original and familiar songs. Band members also include

flutist-vocalist Claudia Tulip, percussionist-vocalist Susannah Martin,

harp-bass guitarist Bart Applewhite.

SAS 2 Carol Kahn:Layout 1 7/20/18 4:58 AM Page 1


Meadowlark’s nine album releases reflect a deep

passion for the planet in a vibrant, colorful mix

of world-influenced music inspired by the beauty

of natural places. Fingerstyle guitarist, Rick Cyge,

flutist Lynn Trombetta and violinist Allen Ames

meld influences as diverse as Celtic, African, and

Mediterranean to create captivating, organic music as

distinctive in sound as it is diverse in scope.

Patti Polinard Quarter Ad Final:Layout 1 4/16/18 11:46 AM Pa

Earth Speak


Heart Stones of Mother Earth

Transformational Art Revealing A Connective Thread

Available at:

Art & Soul Gallery of Sedona in Hillside Shopping Ctr.

Sedona’s New Day Spa at 3004 W SR 89A in West Sedona


For Special Orders Contact Artist — PATTI POLINARD


Sedona ARTSource 65


Chef Gerardo Moceri

“We are more artists

than ordinary cooks.” – CHEF GERARDO MOCERI

Chef Gerardo Moceri’s interview took place in his Sedona restaurant,

Gerardo’s Italian Kitchen, many hours before the patrons would arrive. As he spoke

passionately of both the past and future dreams for himself and his family, young men

patiently worked the pasta for his mother’s recipe of spinach ravioli. With the rhythm

of the kitchen staff gently pacing the ambience, and the hint of basil and spinach

beckoning from the oven, the stage was set for the story of a chef.

Interview by Lynn Alison Trombetta


Sedona ARTSource

GM: When I was a kid, just seven or eight, we lived in

Detroit, outside Canada. We’d get snails from Canada

and cook them in tomato sauce and red wine. I’m little

and I’d take a pin and I’d pop out snails - that was my

job! And I cleaned all the calamari.

SAS: Was your family in the restaurant business?

GM: My family started the first produce company

in Michigan back in 1896 and went back and forth to

Sicily, between the wars and everything else happening.

At first they had a horse and

buggy! My grandparents

started the Eastern Market,

the Western Market, and I was

in the produce business.

Usually each seller had one

thing; “I sell carrots,” “I sell

celery,” “I sell potatoes.” My

grandfather was the first one

to have a cooler warehouse.

He started buying a little bit

of everything and saying, “I

got potatoes, onion, carrots,

lettuce, and this and that.”

That’s what started it all. It

was a tough business – get up

early, meet the farmers from

Canada, Ohio, Michigan ... I

grew up in the market.

SAS: So, you had first-hand

experience with the very freshest

produce ingredients.

GM: Yes, and because I sold

at the market, I met chefs. I

literally was in everyone’s kitchen. I’d go through the

back door and I’d see stuff going on and I kind of got

involved in a little bit of it.

I met German chefs, Italian chefs, all different ones and

I fell in love with the cooking. So, it was either cooking

or produce.

SAS: When did you become more dedicated to the cooking?

GM: In Italy I met a very famous chef, Angelo

Paracucchi. I didn’t know who he was. He knew I

didn’t know who he was, so he gave me room and

board and took me in. He became like my dad, so I

lived there for years off and on while he trained me in

his restaurant, Locanda dell' Angelo Paracucchi, in

Sarzana, La Spezia, Italy.

My chef gave me the opportunity to apprentice in his

restaurant and I became dedicated when I saw the

passion of Italian cuisine from him and the love for food

through my mother. I never went to school – that was

my school. He was my mentor and then he sent me to

other restaurants to work. I went anywhere he set it up.

I always had work at three restaurants planned ahead;

but my home was with him

in Italy.

I studied the culinary arts

all over the world from Italy,

Hawaii, Switzerland, Paris,

California, and New York.

SAS: What was the biggest

original influence on your


GM: My mother and

grandparents by far. Then

came the farmers and the

technique and creativity of

Futuristic Italian cooking.

SAS: You gestured toward the

intriguing plate collection on

the wall. Are those some of the

restaurants where you worked?

GM: The plates on the wall

represent just some of the

restaurants I worked at, like

La Mora in Lucca Italy; da

Romano in Viareggio Italy; Locanda dell’ Amorosa in

Sinalunga, Siena, Italy; and Ristorante Charleston in

Palermo, Sicily. And in America, my friend’s plates are

Marcelo’s in Suffern, New York and Dragos in Santa

Monica, California.

I worked on all the Hawaiian Islands doing Italian

cuisine for the Hyatt, Donderos at the Grand Hyatt

Kauai in Hawaii, and I worked and opened Hyatt Kauai

and Grand Wailea on Maui.

SAS: What do you consider to be your career turning point?

GM: The turning point was when my mom passed

Sedona ARTSource


away, and then my daughter was born,

all within a year. You realize that

you want to go back to the roots.

And now, instead of cooking

for John Travolta, James

Caan, or whatever celebrity

is coming in, the way we

did in Hawaii, you want to

go home and be with your


I don’t have to prove to

anyone any more. Before, you

felt like ‘you’re a chef, you’re

cooking and showing everyone what

you can do.’ When my mom passed away

it was like, ‘I don’t need that anymore.’ And

then my daughter comes in, later my son is

born. And they look at you like you’re the

celebrity; you’re “it,” right? And that’s

all that matters!

SAS: What influences your

cooking today?

GM: I wanted to go back to

the cooking of Italian food

so the kids understand –

and be a Dad – I enjoy that.

My son is in Italy now,

studying farming. He planted

Italian parsley. “How many

recipes can we get out of that and

smell it? Wow, that Italian parsley is

really good – put it with basil and pine nuts

and oil and cheese and now you’ve got

pesto! Wow, now that is flavor!”

He’s going back to even a step

farther than I did: I got it

from the farmers. Now he’s

a farmer. Learning farming

now is another step closer

to understanding these


SAS: What recipe, are you

most proud of?

GM: The ravioli dish we sell

in the restaurant, Mama Pearl’s

Florentine Raviolis. That’s my mom’s

recipe, her name was Pearl Rose. We had

two kitchens in our house and the day after

Thanksgiving my grandparents and my aunts

and everyone comes to the house and they’re

making spinach and cheese raviolis for

Christmas Eve and going to freeze them.

It’s not Black Friday, it’s not shopping.

The day after Thanksgiving, it’s right into

preparing for Christmas Eve and Christmas

Day! I’m helping cut them and doing all that.

I did that from the time I was little. And all

the scraps from those raviolis, I would eat

with tomato sauce. It was like heaven for me!

So when we did this restaurant, we said we’re

doing those raviolis here. We make them

every day and it’s our biggest seller. We want

to interpret the stories with the dishes.

SAS: What are your essential ingredients, the

things you couldn’t live without?

GM: The basic roots are still your anchovies,

your golden raisins, your almonds, your

pine nuts, your extra virgin olive oil, your

parmesan cheese. These are all staples of

a really good Italian kitchen. I’m always

cooking with figs. I do gelato with figs,

fig pastry, and we made flambé dish called

Semifreddo – it’s a classic Italian dessert.

SAS: What would you describe as your

ingredient obsession?

GM: Quality is a big deal, you’re always

trying to find that super quality until you

make that dish the way you want it. You

want to make it somewhat perfect, but

that means finding the best, like if I want

Hawaiian fish, I’m calling Hawaii.

It all goes back to the memories of my

mom, memories of working with my chef,

and now giving that to my kids and my

sous chefs and all my employees who work

underneath me. There are people in Hawaii,

Mexico, California, and New York that have

learned something from me. And that’s a

good feeling – you pass it on. That’s the real

thing when that the knowledge is getting


Sedona ARTSource

passed on from my mom’s passion, and from my chef’s

knowledge and creativity and his desire to teach others

and bring them in.

SAS: Have you written any cookbooks?

GM: We wrote a cookbook before my mom passed

away. My cookbook is called Cucina Creativa Italiana.

We want to do a new one, from this restaurant.

The first book was recipes I grew up with and recipes we

did in Hawaii. My mom helped me write the cookbook

while in the hospice care. We gave the money to

hospice. No money for us. If I do another book, it will

be for a cause. Because giving, that’s the real key.

Also, my first book was very fun, but now I want recipes

with my kids: ‘What do you guys like to make? What

do you like to eat?’ I’d like to go from that generation

to this generation. And let me tell you, they’ll be really


SAS: You seem to be building a bridge between the old

traditions and the new.

GM: We want to educate and teach the staff that cooks

here. They’ve been with me for a long time – let them

keep learning. They see it from the beginning, and

that’s important. The people that come in the front of

the house, we try to educate them on food, wine, real

Italian, kosher and authenticity. I lived there so I know

the difference.

Same with the wine; we just don’t have a wine dinner

saying ‘this is the wine and this gentleman is going to

talk about the wine.’ When we have a winemaker come,

it’s a completely different experience and you see the

world of Italian food like he would.

SAS: Imported Italian flour, local wines, and made-fromscratch

sauces! Give us a little taste of how you would put

those beautiful ingredients together into a favorite recipe.

GM: So, here’s our thing; we make a Mozzarella

Caprese on the menu. We like to make all different

types of mozzarella. We make it and we put basil in it.

We roll and slice the mozzarella a little bit at an angle, so

that when you get a Caprese with heirloom tomatoes,

you see the basil in it and you know that this isn’t from

a store.

We put it on our eggplant, we put it on our chicken

and on our pizzas. We won’t be lazy about the food.

There’s nothing I can’t make, so it’s just taking the time

to make it. When you know how to make it, it feels like

you’re cheating yourself if you don’t, if you buy it from

someone else.

My Chef, Angelo Paracucchi, man … there was none of

that happening in his world! He made jams. He even

made the table decorations!

SAS: What big changes have you noticed over the last

twenty-five years?

GM: Everybody’s going too fast. We need to slow

down. That’s why this is only open for dinner – we

want it to slow down. So, the slow food movement is

just another thing that that the restaurant wants to be

into, and we do. It all ties in.

And I think in time, people will understand. We

will teach that we make our doughs fresh daily with

imported flours from Italy and I get my olive oil from

pure sources. The pepperoni is different – it’s naturally

cured meat and the sausage, we make ‘in house.’ We

make everything here and it’s all authentic and good

quality. It all takes time, but everything we can make,

we make!

SAS: People have become very switched on about things like

seasonal and local produce. What excites you about food


Sedona ARTSource


GM: We want to keep the quality up. We’re

finding out things every day about people growing

different produce locally. We can do this in a little

restaurant. We always support this. When I go

to Italy I’m sure I’ll discover new things, and that

information needs to be passed on.

It’s the generation, like my son, that says, ‘we

can become more green, more sustainable.' I’d

never heard that word before. It has to start with

someone to say, ‘this can be.’ My dream would be,

let’s turn this little restaurant into that.

SAS: You seem to have a ‘recipe’ in mind for the

restaurant itself!

GM: We want a restaurant where the staff, can

learn. I give them my recipes from my chef in Italy,

and they can learn and can create their own. And

that’s the real thing.

We have a lot of ideas to make the restaurant more

natural and more organic.

It’s very tough because we still have an American

palette, but we also have an international crowd.

I know the difference between doing Italian-

Italian and doing the American-Italian cooking.

I was born in the States. I never grew up like

an American; never ate peanut butter and jelly

sandwiches. I’m Italian. I ate Italian food cooked

by my mom, my grandparents, my aunts … they

were just great cooks. The flavors are so nice,

and the cooking slow. Everything took time and

preparation. And that’s where I want to do a little

more here.

Even making the basic lasagna, we don’t make it

in batches. I never made lasagna in Italy - it’s not a

dish you find.

Over here we make homemade pasta, we cut them

stracci and we make grass fed meat sauce with

really nice beef, slow-cooked for three and a half

hours. Then, we combine it with really fine ricotta

cheese, made to order, and then we bake it in a

wood-fired oven. So it’s our version of lasagna,

but it’s a fresh one. We do specialty versions

with spinach and butternut squash, cook it in a

terracotta pot and we let that slow bake for an

hour. It’s not frozen, there’s no microwave, we let

the flavors come of age, and when we’re out we’re


SAS: What is your main goal going forward?

GM: The goal is to become more sustainable, and

as authentic as I can be working with dairy farmers

and the farmers themselves. We get grass fed

meat and natural chickens. To continue getting

the right products, the right grains, the right flour

and the Italian products. It’s fun, it’s a small place.

Another goal is to have these guys go to Italy and

work, where I worked. As I mentioned, my son’s

there now.

SAS: You’re not just passionate about the food and the

experience here, but also for teaching and passing the

torch, this is also quite evident.

GM: They always have a job. That’s the real key

– I don’t want to limit it. It’s true; I have a lot of

history. But we want to look at the future, because

that’s what my kids are doing. They didn’t know

the past. They didn’t know him, [Chef Paracucchi].

SAS: We take it for granted and think our children

know us, but they really don’t.

GM: Exactly, that’s why I’m taking my son and my

family to see where I lived and cooked when I was

his age. The trip’s going to be really exciting and it

will be quite emotional when we are there.

We’re going to eat right there where I worked.

It’s a dream it’s a ‘bucket list’ thing. It’s amazing!

They’ve seen pictures, now they’ll understand it.

They’ll come full circle with me. They’ll say, ‘This

is why Dad’s so passionate about authentic Italian

food.’ My kids will get to see and understand a

little bit more.


Sedona ARTSource

And then after, it will be like, ‘Ok guys, what do

you want to do here?’

Gerardo's Italian Kitchen is located at 2675 W. State Route 89A in Sedona. (928)862-4009 GerardosItalianKitchen.com

Sedona ARTSource



Tchotchke Heaven


Sedona ARTSource

By Carol Kahn

“When someone is creating with their hands,

that’s art. I don’t care if you are painting, sculpting,

working with clay - you are creating art. I think we

are all doing the same thing – creating things that

are coming out of our head – that’s how I see it.”


Bill Robson is a recognized ceramic artist with over fifty

years’ experience in the medium. He has exhibited

his work throughout the southwestern United States

including the prestigious Laguna Beach Arts Festival.

Bill’s Master Degree in Art Education led him to a

fifteen year teaching career, as well as a year teaching on

the Navajo reservation where he further explored the

area of design.

“When I first arrived on the Navajo Reservation, I was

told that I couldn’t teach art here and I had to teach

sixth grade studies. They told me there was nothing

I could teach the Native Americans that they didn’t

already know about art. I didn’t believe it at first, but

it turns out, they were right!” Bill found himself in the

midst of the finest artisans: rug weavers, basket makers

and potters. At that point in his life, he had no interest

in any of it. “Looking back,” he says, “I certainly could

have learned a thing or two from the Native Americans

and their craft. I should have paid closer attention! It’s

ironic that now I carry some of the very same things I

could have learned about years ago.”

In 1962, Bill created his first ceramic pot and

immediately fell in love with the medium. “I still have a

few prized pieces,” he proclaims. “I don’t do art shows;

there are no blue ribbons for my work; that’s not what

I am about. But, there are some proud moments I

can attest to

during my

career. I was

fortunate to have worked alongside of F. Carlton Ball,

one of the greatest ceramists of my time. His work can

be found at the Metropolitan Museum of Art and the

Smithsonian. I should have collected one of his pieces.

His work is definitely worth something now, he explains.

That seems to happen a lot to me in life. I don’t realize

what I had until years later.”

His extensive travels throughout the Southwest in

search of unique antique objects led him to Sedona.

It was Sedona’s natural beauty and the potential of a

home and business site that led Bill and his wife Rose to

move to Arizona and establish Son Silver West Gallery.

“I used to sell my art to a woman who owned this

gallery years ago.”

“La Galeria” as it was known, was devoted to Western

Art and included works from two of the founding

members of the Cowboy Artists of America, Charlie

Dye and Joe Beeler. “One day she asked if I would buy

her gallery, and the rest is history! I got rid of the artists

and decided to do my own thing,” says Bill.

Driving on State Route 179, between Sedona and the

Village of Oak Creek, Son Silver West is now a landmark

that catches everyone’s eye. It’s a destination that is

hard to miss! A huge chicken, strategically positioned,

greets visitors as they enter the parking lot. “Rio, my

son, and I found that chicken in Tucson and the minute

I saw it, I thought it would be a hoot if we put that

outside our gallery. I had to have it!” says Bill.

Roaming through Son Silver West you will find a lot

of things you may never have seen before. A giant

dinosaur hovers over the entranceway. This prehistoric

creature looks like it escaped from Jurassic Park, but

it seems to fit right in. Bill found it in Mexico and

knew he had to have that too! Porcelain advertising

signs hang throughout the property; many of those

Sedona ARTSource


usinesses and their logos are long gone. These mementos

of the past are all part of Bill’s private collection, and

something he is not willing to let go of. Bill likes to collect

things – lot’s of things. Most of his prized possessions can

be seen while milling around the property. Each building

is filled with object’s d’art. Each piece has it’s own unique

story and purpose. One building in particular contains

nothing but tribal art. Picking up a drum-like object, he

describes what it is and how nice it would look as a wall

sconce. “You just need a little imagination,” he says. African

masks, fetishes, and carved sculptures adorn the space. “All

of it is authentic,” Bill confirms. “Most of it is frightening

to look at. Some were made to ward off evil spirits – or

maybe just for annoying people,” Bill jokes. He explains how

he acquired each piece, what part of the world it came

from, and a brief history. It’s all interesting, especially the

backstory. Laughing, he reiterates that

stories can make a piece of artwork

more attractive. Admittedly, he mentions

that he may have embellished, a time or

two, on some of those stories.

Bill and his son, Rio, have their own

working studios tucked away within

the confines of the gallery. Rio

specializes in metal work and creates

the plethora of metal signs, sculptures,

decorative garden pieces and wall

sconces found throughout. Bill creates mixed

media artwork incorporating unusual leather pieces with

antique bells, objects from India and even primitive-style

reproduction farm tools and glass hanging terrariums.

74 72

Sedona ARTSource

Bill Robson & his son Rio

Every now and then you may find him creating a new piece

of pottery. “Typically, I will work nonstop in the studio for

one month straight every day and then it may be six months

before I get back in the studio again. It’s harder now with

three businesses to focus on but I like going to sleep at

night with visions in my head of what I can make next. Just

thinking about my work and the process, keeps my mind off

of the negativity in the world,” says Bill.

As the sound of wind chimes dance in the gentle breeze, a

synchronistic “flow of chi” weaves throughout the nooks and

crannies of this Tchotchke Heaven. Smoke from the logs of

burning pinion permeates the air – as though a smudging

ceremony is about to take place. There are three vortexes

on the property as Bill describes it. “Some guy stood right

here," he says as he points to a bench underneath a juniper

tree. “He told me that he could feel the energy, and that

his body was vibrating. He convinced me that this spot is a

vortex. So, I put up a sign marking the location,” laughs Bill.

For over 38 years this combination art gallery, retail gift

store and ceramic/leather studio has been an ever-evolving

favorite of both locals and visitors coming to Sedona. It has

a little bit of everything, and something for everyone. “I just

want people to have fun,” says Bill. “That’s what Son Silver

West is all about.”

Currently, Son Silver West has three locations in Arizona:

Sedona, Cottonwood and Wickenburg.

Son Silver West Gallery is located at 1476 State Route 179,

in Sedona. (928) 282-3580 SonSilverWest.com

Sedona ARTSource



Some Notes about What’s Possible

by Jim Peterson, President of the Sedona Culture Collaborative.

In the inaugural issue

of Sedona ArtSource,

we introduced you to

the Sedona Culture

Collaborative’s current

direction and activities. These signal

a new chapter in our service to the

community, and we’re very excited to be

implementing them!

But one thing I’m often asked

about is our longer term objectives.

Where will our current initiatives lead,

and what do we hope to accomplish in the

community as a result? To answer that,

I’d like to share a few thoughts (maybe

even a dream or two) about our vision for

the future of the arts in Sedona.

I’ll start with an observation

about the current state of affairs. One

phenomenon I’ve long noted during

the 11 years I’ve lived here is that local

artists and arts groups tend to be pretty

scattered. I don’t mean geographically

scattered – we’re all working within

the same region, after all. But

organizationally, we tend to be quite

independent of each other. We might

occasionally get together to collaborate

on an event or exhibit, but much more

commonly we work alone.

That’s not necessarily a bad

thing, of course. Artists typically want

to immerse themselves in their work and

avoid distractions, and organizations are

usually most effective in meeting their

short term goals when their efforts are

narrowly focused.

But to identify our community’s

needs, the Collaborative has been polling

local artists and organizations and

researching other communities known

for nurturing a vital arts scene. What

we have learned from this is that the

resources and facilities needed to support

arts activities are generally in short supply

around here, compared to other locales

recognized as notable arts destinations.

Many of us, for example, need

more space for our activities - studio

space, performance and exhibit spaces,

rehearsal and practice spaces, teaching

space, and office space. And many

individuals and organizations would

benefit greatly from increased access to

business services (insurance, accounting,

legal, ticketing and sales, etc.), assistance

with marketing and publicity, fundraising

training and support, organizational

development, etc.

We believe that needs such as

these within the local arts community are

not likely to be addressed when everyone

works in isolation. Based on our research,

we believe that artists, arts groups, and

arts-related businesses have the potential

to accomplish much more by working

together than they are likely to achieve

separately. And we’re here to help!

We kicked off our Arts Service

Organization initiative (described in our

previous article) as a very significant step

in bringing more unity and cooperation

into our arts community, and we’re taking

other important steps in addition.

For example, we’re in

discussions with the Sedona Arts Center

and SCORE to establish workshops and

mentoring programs that will help artists

and arts groups address their business

and organizational needs. We’ve worked

with the Sedona Chamber of Commerce

to help identify ways to attract visitors

who are interested in our many local arts

opportunities. We’re partnering with

city government and several performing

arts organizations in a working group to

help chart the future of the city’s Posse

Grounds Hub performing arts space.

And we’re working with other

arts groups as well, such as the Sedona

Conservatory, the Fine Art Museum of

Sedona, Chamber Music Sedona, Sedona

Chamber Ballet, and Sedona Camera

Club, plus businesses like Creative

Gateways, Gandolfo’s Art Studio, and

ALT Gallery. We see such collaborations

as essential to serving our mission, which

is to help make Sedona an internationally

recognized destination for education and

engagement in the widest possible range

of artistic disciplines.

So (back to the original

question) what would it look like if our

dreams all came true – if we were able to

fulfill our mission completely? Let me

offer a few examples of what we could

have some day:

• Institutions and facilities that

attract the world’s top artists and teachers

across a wide range of artistic endeavors

• Performances and exhibits

that rival the best anywhere and attract

international audiences and accolades

• A thriving ecosystem of arts

businesses and nonprofit groups that

serve the needs of the community, its

artists, and its visitors

• Available and affordable

resources and facilities that allow artists

to focus their energy on what they love:


• Residency programs,

educational and mentoring programs,

internships, and other development

opportunities that turn out renowned

artists and arts managers

• A robust partnership

between institutions, artists and

groups, businesses, foundations and

philanthropists, government entities,

and volunteers, all working together

to sustain a flourishing arts scene that

significantly boosts the local economy

Is all of that too much to hope for? We

truly don’t think so; we believe that it is,

in fact, eminently achievable. It won’t

happen overnight, of course, and it

certainly won’t be handed to us on a silver

platter. But if the many fine and talented

individuals and groups in our community

really come together to support this

vision, there’s nothing that will stop us!

* * *

To learn more about the Sedona Culture

Collaborative or to get involved in

its exciting projects and activities,

contact Jim Peterson at 928-554-4340 or



Sedona ARTSource

the Artistry oF greAt hospitAlity is Found At

the golden goose AmeriCAn grill

Join us for an unforgettable dining experience

AmAzing Appetizers | Crisp sAlAds

prime steAks & Fresh seAFood | gourmet burgers

greAt CoCktAils & Wine

Patio Dining

928-282-1447 • 2545 W. SR 89A • SEDONA, AZ

(in front of Andante inn)


Sedona ARTSource






Artists - Our Human Hummingbirds

Brian Myers

By Patti Polinard

Artists and hummingbirds have something in common. They

both seed humanity by taking their messages out into the

world. Hummingbirds use nectar as fuel for their body heat,

as they pollinate flowers. Artists use inspiration for creativity,

as they impact the minds and hearts of individuals, cultures,

and the world at large.

Lenore Hemingway, co-owner of The Village Gallery

with Suzen Brackell; rescues and assists with banding

hummingbirds. Her appreciation and understanding of these

birds lend an insight into the nature of her art and the artists

in their gallery.

In the summer Lenore hosts a hummingbird event; assisting

with capturing then banding the birds for research. She

also hosts two photography workshops where guests find

themselves surrounded by over 1000 hummingbirds with 30

feeders. Lenore says they are a huge inspiration carrying a

spiritual message into her life and in her art.

Lenore moved to Sedona in 2006 and hand-built a 'green'

home with her husband. She was raised on a farm with

a reverence for nature and animals and her home is a

sanctuary for all that surrounds her. She is also a veteran of

27 years, having served as a Lt. Col. with the

Air Force. She never imagined she had an

array of artistic abilities before retiring and

residing in Sedona.

Her media of choice became mosaic art;

which happened quite by accident at

a garage sale where she found a small

table she turned into her first mosaic

piece. Focusing on abstracts, she

began creating wall mosaics. Later, her

signature mosaics became all kinds of

shapes from Kokopelli, spirit animals,

lighthouses and suns, to hummingbirds.

She also creates beautiful glass jewelry. Lenore

is currently participating with the Women’s

Kindness Group in Sedona, creating mosaic


Sedona ARTSource

Lenore Hemingway

Iam Allah Ali


ench designs with Lucy Paradise and

other women, to Spread the Message

of Kindness.

The Village Gallery is a true cooperative,

where each artist not

only showcases their art; but

also contributes to its success by

participating on different committees

running its day to day operations. In

2009 the building was a timeshare

displaying a little local art in its office.

It was later transformed into The

Kathy O’Connell

Village Gallery through the vision of

Suzen Brackell. Suzen, co-owner of the

gallery with Lenore; is a unique fabric

designer who takes scraps of materials

and creates beautiful, one of a kind,

fashionable clothing for women. Suzen

and Lenore “believe the success of the

gallery is because they put love in their


Lenore joined The Village Gallery

in 2011 and in 2016 she and Suzen

became owners and partners in the

gallery but chose to maintain it as a

co-operative. Artists today, see art in

everything from nature to industry

as they view the colors and

shapes of our world. These two

women have created a venue

that supports an artistic freedom,

to create art from literally

everything on the planet. These

art mediums have launched a

magnificent array of repurposing,

or ‘art-cycling’ from everyday

objects and nature, to what

was once considered trash.

Although ‘Fine Art’ still maintains

a reverence all its own; people

today are exploring and relating

to art in ways they never imagined.

There are forty artists in The

Village Gallery. The art represented

showcases everything from mosaic,

fabric design, jewelry, Native American

crafts, wood carvings, furniture, pottery,

gourds, acrylic, oil, and watercolor

paintings, photography, and glass work,

to mixed media. Each artist is juried

in so they don’t have too much of

anything, with enough variety for every

taste. Some like June Payne Hart, have

spent a lifetime painting. Others like

Joanne and Art Hiscox mix up medias

with functional art furnishings and

large outside installations. Much of

what a visitor will find in this gallery is

reflected from nature. However, there

is also an industrial aspect of creative

energies with forged metal objects

produced from recycled materials. Tom

Williams creates cactus sculptures

from the horseshoes of the Grand

Canyon mules; and transforms propane

cylinders and tanks into drums and


Lenore showed me two hummingbird

nests in my interview with her. The

first one had an unhatched egg. The

nest itself was only about the size of

Peggy Doig

a half dollar and made of cobwebs,

feathers, bark, leaves, lint, flowers

and other soft materials. The second

was slightly larger because it had

stretched to accommodate four

baby hummingbirds. If we are to fully

appreciate art in all its forms … we

must stretch our nests to include

everything we see and experience in

life. These interdisciplinary artists give

us an opportunity to view the world

with a new sense of appreciation and

awe. They illustrate aspects of the web

of life, and remind us of the connective

thread to everything. Such vision

nurtures us and our world in a way

we can all embrace and share … the

hummingbird’s message.

Suzen Brackell

The Village Gallery is located at 6512 State Route 179 in Sedona.

Open 10 am - 6 pm Seven days a week.

Phone: (928) 284-1416


Sedona ARTSource


78 Sedona ARTSource

Sedona ARTSource


Sedona Art Galleries - See Map pageS 78-79


Adonai Chrisan Fine Art Gallery

101 N SR 89A


Great Southwest Gallery

336 SR 179


R.C. Gorman Navajo Gallery

285 Jordan Road


















ALT Gallery

2301 W SR 89A

Andrea Smith Gallery

336 SR 179

Art & Soul of Sedona

671 SR 179

Azadi Rug Galleries

336 SR 179

Bearcloud Gallery

7000 SR 179


Big Vision Art Gallery

& Design Studio

251 SR 179


Carre D’Arstes

336 SR 179

Creave Gateways

45 Birch Blvd

Eclecc Image Gallery

336 SR 179

El Dorado

101 N SR 89A

El Picaflor Gallery

336 SR 179

Eve Franc - A Bryant Nagel Gallery

431 SR 179

Exposures Internaonal

Gallery of Fine Art

561 SR 179


Gallery of Modern Masters

671 SR 179

Gallery Tesla

2030 W SR 89A

Garland’s Navajo Rugs/

The Collector’s Room

411 SR 179

Goldenstein Gallery

150 SR 179


















Greg Lawson Galleries:

Art Tasng Room

270 N SR 89A


Greg Lawson Galleries:

Passion for Place

2679 W SR 89A


Hoel's Indian Shop

9589 N SR 89A

Honshin Fine Art:

Gallery of Wholeness,

Harmony & Radiance

336 SR 179

Honshin Fine Art:

Gallery of the Ascending Spirit

336 SR 179

Inner Eye Gallery

336 SR 179

James Ratliff Gallery

671 SR 179


411 SR 179

Kuivato Glass Gallery

336 SR 179


Lanning - A Bryant Nagel Gallery

431 SR 179

Lark Art

431 SR 179

Magical Mandala

Kaleidoscope Gallery

7000 SR 179

Mountain Trails Galleries

336 SR 179

Nave American Traders

321 N SR 89A

Nave Jewelry of Sedona

276 N SR 89A


Navarro Gallery

336 SR 179



















Renee Taylor Galleries

336 SR 179

Rowe Fine Art Gallery

336 SR 179

Sedona Arst Market

2081 W SR 89A


Sedona Arts Center

15 Art Barn Road

Sedona Giclee Gallery

2055 W SR 89A

Sedona Hummingbird Gallery

6560 SR 179

Sedona Poery

411 SR 179


Soderberg Bronze

45 Finley Drive

Son Silver West Gallery

1476 SR 179

The DeSerio Gallery

101 N SR 89A

The Melng Point

1449 W SR 89A

Touchstone Gallery

320 N SR 89A

Turquoise Tortoise

- A Bryant Nagel Gallery

431 SR 179

Van Loenen Gallery

7000 SR 179

Village Gallery of Local Arsts

6512 SR 179


Visions Fine Art Gallery

101 N SR 89A

Vue Gallery

336 SR 179

Wayne B. Light Gallery

40 Soldier Pass Road


Gordon’s Clock Soup Gallery

2370 W SR 89A


Quilts Ltd. Gallery

313 SR 179

ArtSource adversers listed in bold

80 Sedona ARTSource

Sedona ARTSource





“One of the Largest and Most Unique Galleries in the World”

800-526-7668 561 State Route 179, Sedona, AZ 86336 928-282-1125



©2018 Exposures International LLC

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