ARTSource Arizona - Volume Six

Art Source Volume Six is now ARTSource Arizona! This edition features paintings from visual artists Ed Mell, Mary Lois Brown, Khrystyna Kozyuk, Aros Crystos, Franck Boistel, Cyndy Carstens, Diana Madaras, Elizabeth Silk, Brad Wilkinson, Lynn Alison Trombetta, and Bearcloud. Bronze sculptures by John M. Soderberg and James N. Muir are included in the issue along with poetry by Ofelia Zepeda; glass art by Thomas A. Philabaum; a new book by James N. Muir; culinary creations by Chef William Turner; astrophotography by Joel Quimpo; landscape photography by Mike Koopsen; and views into the lives of performance artists Pash Galbavy, Lewis Nash, Shondra Jepperson, and Dev Ross. A focus on the Sedona International Film Festival and its Director, Patrick Schweiss is found in this first statewide edition of ARTSource, plus a preview of "Fearless Fashion" – a special exhibition at the Phoenix Art Museum showcasing over eighty fashion designs by ’60s mod legend Rudi Gernreich, and a glimpse of the Musical Instrument Museum's collection of more than 8,000 instruments from more than 200 countries.

Art Source Volume Six is now ARTSource Arizona! This edition features paintings from visual artists Ed Mell, Mary Lois Brown, Khrystyna Kozyuk, Aros Crystos, Franck Boistel, Cyndy Carstens, Diana Madaras, Elizabeth Silk, Brad Wilkinson, Lynn Alison Trombetta, and Bearcloud.

Bronze sculptures by John M. Soderberg and James N. Muir are included in the issue along with poetry by Ofelia Zepeda; glass art by Thomas A. Philabaum; a new book by James N. Muir; culinary creations by Chef William Turner; astrophotography by Joel Quimpo; landscape photography by Mike Koopsen; and views into the lives of performance artists Pash Galbavy, Lewis Nash, Shondra Jepperson, and Dev Ross.

A focus on the Sedona International Film Festival and its Director, Patrick Schweiss is found in this first statewide edition of ARTSource, plus a preview of "Fearless Fashion" – a special exhibition at the Phoenix Art Museum showcasing over eighty fashion designs by ’60s mod legend Rudi Gernreich, and a glimpse of the Musical Instrument Museum's collection of more than 8,000 instruments from more than 200 countries.


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Voted Best Gallery in Tucson

Original Paintings • Prints • Sculpture • Southwest Gifts • Ceramics • Jewelry

First Light


Tubac Gate


Hacienda Gate II

Day’s End

After a Good Rain

Diana Madaras and 26 Guest Artists

3035 N. Swan Road, Tucson, AZ 85712

See more than 200 paintings at madaras.com

(520) 615-3001

Red Mile

Serenity , Oil on Canvas , 18"x24" , Framed to 25"x31"




Make Life Luminous


Following a year of uncertainties 2021 has been welcomed

by many because it offers a new chapter. Whether we

found ourselves in one of the more difficult passages or

one of the pleasant ones there are several things that help

us to be grounded – important among these is art.

Art has that capacity because specific genres represent

a welcome zone for us individually. When we are engaged

in seeking it, acquiring it, or are otherwise moved by art

that appeals to us, we are transfixed in appreciation and

sometimes taken to an emotional plane that serves our

personal appetites – our needs or wants.

Whether that creation warms us, titillates us, moves us,

inspires us, engages us, enrages us, or questions us, that

person’s creative offering is going to influence us. That

influence will impact us and the impact will tend to bring

us back again and again.This is more than just a diversion

from the mundane or even unseemly encroachments of

life. It’s a victorious detail in the essence of our intelligent,

sentient existence; it’s a perfume of our being.

This Volume Six of ARTSOURCE is our initial Arizona

statewide edition. While the severity of the viral incursion

could have stunted our growth, enthusiasm for the project

served as wind beneath our wings. Although a bit delayed,

we were nonetheless buoyed and encouraged by the many

incredible Arizona people we’ve met along the road.

I sincerely wish all a happy and successful passage beyond

the shadows of the season and into brighter realities

ahead. Please allow the artists and art venues of Arizona

to make a contribution to those positive realities in

your behalf.

Artful wishes,

Greg Lawson

ON OUR COVER Storm Momentum, 2018, by Ed Mell

Headline Image Sandhill cranes visit in winter and often pepper the sky



Greg Lawson

Lynn Alison Trombetta

Kristina Gabrielle

Published by ArtSource Media

2679 West State Route 89A

Sedona, AZ 86336

Volume Six



Art Director

Design elements by Erick Hale Agency

and Nadezda Skocajic

Printed in Arizona, USA


ARTSOURCE Arizona is published twice yearly.

Copyright © 2018-2021 ArtSource Media. All world rights reserved. No part of this

publication may be reproduced, transmitted, transcribed, stored in a retrieval system or

used as a model for any type of reproduction, in any medium, by any means without the

publisher’s prior written permission.The publisher assumes no responsibility for errors

or omissions. Opinions expressed do not necessarily reflect the views of the publisher.



Ed Mell – Horizon to Horizon

12 Ofelia Zepeda – Poet With A Purpose

18 Noteworthy – A Visit to the

Musical Instrument Museum

28 John M. Soderberg – The Bronze Age

34 Toasting the Talent – Patrick Schweiss


36 Pash Galbavy – Unmasked

42 Lewis Nash – The Heart

Behind the Beat

50 Fearless Fashion – Special Exhibition

at the Phoenix Art Museum


59 Arts in Motion

64 Sedona International Film Festival

70 The Two Lucys – Shondra Jepperson

and Dev Ross

74 Community State of the Arts

76 Chef William Turner

– Southern Migration

82 Thomas A. Philabaum – The Glass

92 Look to the Stars – Astro Photography

Joel Quimpo






Horizon to Horizon

By Lynn Alison Trombetta

Artist Ed Mell was born in 1942 in Phoenix, Arizona. Interested in art from an early age, the vibrant desert skies and

the vast terrain of his childhood would eventually call him back after a first career in New York as a commercial


It was in the summer of 1971 that Mell spent time on the Hopi reservation teaching art to the young. Being in touch with

the land and the spiritual world of the Hopi people convinced him he wanted to become a landscape artist.


Sedona Shadows, 2004

He left New York in 1973 and returned to Phoenix, painting part-time while working as a commercial artist. By 1978 he

followed his dream of becoming a full-time landscape artist.

We can imagine that a three-day helicopter trip to the Colorado Plateau with KPNX-TV news reporter, Jerry Foster in

1979 forever altered Mell’s artistic perspective. That aerial excursion explored the mesas and canyons of wilderness between

Monument Valley and Lake Powell.



Painted Hills, 2018

The horizon-to-horizon drama of those voyages worked their

way into his paintings. He translated his experiences into

dramatic, geometric forms on canvas illuminated with the colors

of the desert southwest. Repeating motifs found in clouds,

lightning, rivers and mountain ranges appear interconnected

with an elemental energy that is palpable.

Mell’s unmistakable style is dimensional, constructed as one

might design an architectural structure. Most notable, on each

canvas Mell seems to capture the mood and essence of a place

so broadly that he remains limitless in his interpretation and

boundless within the viewer’s imagination.

Bend in the Road, 2019


Faith In Nature, 2017



Dusk Drive, 2006

For over 35 years he has interpreted the scenery of the west

and was recently honored with a retrospective show and

lifetime achievement award by Desert Caballeros Western

Museum in Wickenburg, Arizona.

Arizona Statehood Stamp, 1912-2012

Nationally and internationally, Ed Mell’s works are held

in many corporate and private collections. In 2012, the

Arizona Centennial Commemorative Arizona Statehood

(Forever®) stamp, celebrating the states 100th anniversary

featured Mell’s portrayal of Cathedral Rock, a colorful

sandstone formation found in Sedona.

10 ARTSOURCE Arizona

The permanent collections of the Phoenix Art

Museum, Tucson Museum of Art and the Denver

Art Museum all feature Mell’s unforgettable work.

Several large-scale pieces have been commissioned

for public works, including an eight and one-half foot

tall bucking bronco, a mural-esque painting for the

visitor’s center of Kartchner Caverns State Park, and

a bronze titled “Rising Phoenix” for Phoenix City

Hall. In 1996 the Northland Press book, “Beyond the

Visible Terrain: The Art of Ed Mell” chronicled his life

as an artist.

Enjoy more of Ed Mell’s work at:

www.EdMellGallery.com. 4

Sunwashed Mesas, 2018

Canyon Floor, 2019

Faith In Nature, 2017



As Director of the American Indian

Language Development Institute (AILDI),

Regents’ Professor of Tohono O’odham

language and linguistics and former Head of

American Indian Studies at the University

of Arizona, Ofelia Zepeda is a languagearts

professional of stature. She has worked

as consultant in behalf of several Native

American languages and is known for her

work in helping to preserve the language

of her ancestry. This acclaimed poet was

responsible for creating the first textbook

in her native tongue in order to teach her

students essentials of the O’odham language.

Though small is the number that speak

O’odham as their first language, estimates

are that some 12,000 people are keeping

the language alive through some degree

of use. Ofelia Zepeda is out in front in

accomplishing this important task.

Let’s learn more from Professor Zepeda


Ofelia Zepeda

Poet with a Purpose

Please tell us about your history in the

language arts.

My early poetry was accomplished as a

graduate student. The first poems were

only in O’odham. This was largely due to

the fact that I was writing for and with the

language classes I was teaching at the time.

I had writing assignments for the O’odham

students to promote writing, reading and

other elements of language. As they wrote

things, so did I. We collected and shared our

writings, many of which turned out to be

12 ARTSOURCE Arizona

"I have written other similar pieces like this – most of it generated

from walking or sitting in the desert and watching the movements

that occur. I like focusing on a particular sense, as in this case the

sense of smell. Smell is an important sense for humans and animals.

Animals can identify us by smell."


A strand of hair is left on the spine of saguaro.

It is sticky with the juice of fruit and summer heat.

Hair is abandoned there much like

any discarded body fiber, fur, and feathers.

Others will come by and lift the scent.

Some will be curious and want more

while some will reflex with fear.

All will know we came through

Our scent will tell our story, a story we may

not always be fully conscious of.

Those that pick our scent will help tell our story

and make us real.




“This piece was part of a photographic project called 'Where Clouds are

Formed.' The project focused on the portion of the U.S./Mexico border

crossing the O’odham reservation.”


Each tiny blade of creosote leaf has a memory of

the people that have come through.

The sand absorbs the tears, nightmares, sorrows of the walkers.

It muffles their cries.

No one can hear them.

This was never the intent of this desert.

as well working outdoors in all the

changing environments. And like

my family I learned to appreciate the

natural environment. I learned how

to read it, how to appreciate it, how to

fear it. These influences come into my


I write about the natural elements,

about people, about my experiences in

a range of subjects, experiences where

the foundation is based on being

O’odham. For instance, I think of a

poem I wrote about dirt, a common

element, but part of my personal

experience from childhood. Also

how O’odham view and understand

the nuances of dirt make their way

into the poem. Some non-O’odham

readers will identify with some of

these elements too.

what we (in the class) thought came

closest to poetry.

I know too that I modeled my early

writing after traditional O’odham

song forms. O’odham songs are

short and packed with creative use of

language. I also gravitated to many of

the themes that O’odham songs tend

to emphasize. So, initially my writing

was for a small audience, my students,

and their friends.

Is there a distinct flavor to your

writings in the style or content?

I mentioned that an early influence

was traditional O’odham songs. These

songs often revolve around themes of

the natural elements including rain,

wind, clouds, oceans, mountains, light,

or air to mention a few. It is common

for the songs to involve a spiritual

world and spiritual beings and their

experience with these elements. I tend

not to extend into the spiritual realm

with my words. I stay with the human

experience, therefore, my focus on

other elements is more basic and not

other-worldly. At times it is difficult

not to extend to that other world and

other beings.

In my first collections, Ocean Power:

Poems from the Desert, I had a

number of pieces based on topics of

rain; rain in the desert, and all the

things that come with that, including

the formation of clouds, the smell of

rain before and after, the feeling of

wind before and after. From these

pieces I came to the realization that

this stemmed from my rural lifestyle

growing up. My family was like this

Some of my writing has also been

viewed as “teaching poems” – poems

that contain a lesson for the reader.

And still some pieces are subliminally

political. The political opinion is

often imbedded in a story and can be


Tell us please about the venues and

distribution of your creations.

I read for small and large venues and

have done numerous readings here in

the Southwest and across the country

over the years.

I have three books that are published

by the University of Arizona Press

and another by Kore Press in Tucson.

A number of my pieces appear in

collections and anthologies, many

of which are themed around the

Southwest, the desert, or women.

14 ARTSOURCE Arizona

“This poem evokes themes that are prevalent in traditional

O’odham songs, pulling from the form and structure of them.

The poem, like the songs, speak of the appreciation of the

landscape as home and, in particular, the event of rain and

the goodness it is known for.”


Ha-ka: ʻac g ñeñeiʼi mo ʼam kaidaghim

ʼAm kaidaghim taṣhuḍnig wui.

ʼAm kaidaghim siʼalig ta:gio.

ʼAm kaidaghim ju:pin tagio.

ʼAm kaidaghim wakolim tagio.

ʻAm ʼac haʼicug ʼid ṣa:gid.

mo ʼam kaidaghim

S-ap ta:hadag ʼo g t-i:bdag.

S-ape ʼo g t-cegǐtodag.

S-ape ʼo g t-jeweḍga.

S-ke:kaj ʼo, ñia ʼan g ʻi- ñeid.

S-ju:jpig ʼo, ñia ʼan g ʻi- ñeid.

Ka: ʼac g ka:cim ṣu:dagi t-miabǐʼat.

Ka: ʼac g geʼe jegos t-miabǐʼat.

Ka: ʼac g s-ke:g hewel t-miabǐʼat.

Ka: ʻac g s-ke:g neneʼi t-miabǐʼat.

Ka: ʻac g s-ke:g ñeñeʼi t-ai ʼat.

The English version provides a meaningful insight to the intent

of the original.


We hear the songs resounding.

They are resounding toward the sunset.

They are resounding toward the sunrise.

They are resounding toward the north.

They are resounding toward the south.

We are in the midst of songs.

Our heart is full of joy.

Our mind is good.

Our land is good.

The land is all beautiful, take a look.

There is light rain all around, take a look.

We hear the ocean in the distance.

It has come near us.

We hear the beautiful wind in the distance.

It has come near us.

We hear the dust storm in the distance.

It has come near us.

We hear a beautiful song in the distance.

It has come near us.

We hear a beautiful song in the distance.

It has come upon us.



"This piece appeared in a collection entitled

'Aligning Our World' and reflects on a view

I saw while we were driving down from

Flagstaff into Phoenix in the early hours of

the day one summer. I noticed the alignment

of the setting moon and rising sun at a point

and noted the truckers that were resting

at the rest stop. This time of the summer

is significant to O’odham but of course the

truckers were oblivious to that."


Five thirty on a summer morning near Flagstaff

Moon is setting in milky whiteness,

The sun is rising in misty moisture.

The truckers sleep at the scenic overlook.

The scenery is only in their dreams.

Vistas of rocky valleys and distant mountains float

through sleep.

They rest in early morning mountain air.

Unaware of a diaphanous moon setting on one horizon

and the sun rising on the eastern horizon.

They are in parallel.

In their sleep, they are oblivious to the schedule

in our universe.

The people know.

This time of the season when the two align, the

sun and moon.

The calendar is marked with ceremony and rains come.

It is raining. The earth is preparing, and we begin again.

We do this for the truckers that sleep at the scenic


Knowing that poetry does not translate easily,

how do you address the challenge of conveying

O’odham thought to English speakers?

When writing in O’odham, I pay attention

to the usage and organization of words and

phrases. I am conscious of how someone

reading these in O’odham might interpret

them. Though I do have readers in O’odham,

there are very few in number, but they are an

important audience for me. Like any writer, I

suppose, I try to be careful of word choices and

spend a tremendous amount of time thinking about

and editing pieces just as I would in English.

Once I make the decision that a piece will be written

in O’odham I start there. Some pieces will replicate

O’odham song form in their sentence pattern and in

the use of metaphor and certain imagery, for instance.

The sentence may lack certain grammatical conventions

because of the song language form and a reader of

O’odham will recognize this. Though I may use certain

“poetic” conventions that work for the O’odham language

the form in English may be challenging to achieve. For

the most part I am not interested in a direct translation

but instead I will write a poem in English that will be

similar in theme and essence as the O’odham form

and set them side by side. I consider them to simply be

versions of one another.

In your career of using language arts to foster

appreciation for their historic culture, while also helping

people to bridge a gap between cultures, can you share a

concluding take-away?

We understand that learning to speak another person’s

language is an excellent way, if not the best way, to learn

about the people whose language it is. The same is true

of reading other people’s stories. This is an accessible

window into the people and their views, their histories,

their stories, their beliefs, the knowledge they always

had, the beauty of their language. Having access to

another culture through poetry is an important way

for understanding and appreciating the diversity that

exists in this world. I believe I allow the reader to know

something about being O’odham through my writing. 4

16 ARTSOURCE Arizona




A visit to the




Review by Erick Hale | Photos courtesy of MIM

18 ARTSOURCE Arizona

"From our first breath,

music is the instrument of soul.

There’s no stopping our ingenuity when it

comes to creating the tools for our music...

For American Bob Ulrich, a visit to the

Musée des Instruments de Musique

in Brussels, Belgium with his friend Marc

Felix was inspirational and motivational.

That visit not only begged a question, but

conjured an answer for them both. ‘Would

people appreciate a giant visitation space

devoted to the entire world of music?’

They probably would. And in fact within

just five years the Musical Instrument

Museum (MIM) was a reality, and people

prove every day that they do indeed love

and support it.

The vast 200,000 square foot complex

was created in Scottsdale to house the

museum and its many thousands of unique

instruments and objects. The interior

space is thoughtfully laid out to recognize

global geographic and cultural distinctions

as we move from exhibit to exhibit across

two expansive floors filled with displays

that inform and delight the eye, the ear,

and the appreciative mind.

20 ARTSOURCE Arizona Orientation Gallery

...The raw ingenuity in shaping instruments is found in

every peopled place on the planet. It is innate, as if we

understand at some inarticulate level, that if we do not

feed the music, some portion of us will starve...

Many common instruments

that are played worldwide in

various cultural settings are

shown in multiple exhibits, but

the evolution and customization

of those instruments within

varied cultures shines through to

highlight music unique to each

culture. The exhibits showcase

cultural traditions while also

displaying the connectedness of

music on a global level. There are

over 200 countries and territories

represented in the displays and


Throughout its ten year history,

MIM has also hosted an unending

stream of live performances, not

only in the exhibition spaces,

but in its own 299 seat theater

designed with architectural and

acoustic excellence in mind. The

theater offers productions by

performing artists representing

many types and styles of music

and often features influential

artists and popular icons.



Geo Galleries

Being a non-profit organization

MIM benefits operationally from

individual support, as well as

grants and corporate gifts.

For its founders the Musical

Instrument Museum is certainly

a dream come true. For its

appreciative visitors MIM will

undoubtedly prove to be the

catalyst and the inspiration for

many new dreams and some of

these will in turn prove to be a

dream come true.


Nigeria exhibit

22 ARTSOURCE Arizona

...The Musical Instrument Museum amplifies, delights in,

and pays homage to these amplifiers

of human emotion...


Electronic Music exhibit


France exhibit



...We have gathered instruments from all parts of

mankind, in every corner of the world...


Thumb Pianos exhibit

24 ARTSOURCE Arizona


Turkey exhibit

...What is common in the more than 10,000 instruments

we have collected, is their ability to express the language

of soul from dialects around the world.

Many of these instruments

are one of a kind treasures...


Norway exhibit


Japan Ritual exhibit



...Our mission at the Musical Instrument Museum is to

celebrate music as a sustaining human gift. We honor

music as the wellspring of human culture...




Orientation Gallery

The Musical Instrument Museum (MIM) enriches our world by collecting, preserving, and

making accessible an astonishing variety of musical instruments and performance videos

from every country in the world.

MIM offers guests a welcoming and fun experience, incomparable interactive technology,

dynamic programming, and exceptional musical performances.

MIM fosters appreciation of the world’s diverse cultures by showing how we innovate,

adapt, and learn from each other to create music–the language of the soul.

26 ARTSOURCE Arizona

...If not not for music the

soul would have no language,

even though we have the ear,

the heart to listen."

– Excerpt from MIM welcome video presentation

ROBJOHN PIPE ORGAN | Orientation Gallery

Above: MIM recently acquired and installed a pipe organ

made in 1859 by respected NewYork builder Thomas

Robjohn (1809-1874). The organ is the only one of 15

produced by Robjohn that exists today. In its past lives,

MIM’s historic pipe organ provided music for churches in

NewYork and Michigan. In MIM’s Orientation Gallery, the

organ is an impressive sight with its two manuals (keyboards),

10 stops, and 502 pipes.

Experience Gallery

Musical Instrument Museum

4725 E. Mayo Boulevard, Phoenix

>>> Learn more at mim.org. 4





By Erick Hale

“Blue Deep” 7.5’ H

The Bronze Age is a title sometimes applied to the

first era of human history to be dominated by the use

of metal tools. The title acknowledges that humankind

advanced from the use of stone as a primary element in

tools and creative works, to the use of metal. Copper

was evidently the first metal crafted for such use in

specific regions, and later that copper was made more

durable by the addition of tin, thus bronze was born.

Over time the Bronze Age was eclipsed by the Iron

Age within industry, but the use of bronze has never

diminished and it is especially appreciated in the arts.

For artist John Soderberg, a personal bronze age began

some forty years ago. After an honorable discharge

from the United States Marines in Arizona in the early

1970s, he decided to settle in the state and make it

28 ARTSOURCE Arizona

“Merlin” 10' H



home. Raised in a family that highly appreciated the

arts and having personally been an arts-creative since

childhood may have predisposed an inclination to

migrate to an arts related vocation. And so he did.

Finding his way to an entry level position in a small

foundry in Flagstaff, John was introduced to the modern

use of bronze casting. He learned to pour bronze, grind

it and weld it. Though he worked by day for meager

wages, his nights were filled with ambitiously sculpting

his own clay in preparation for a personal coming of age

– with his own bronze sculpting debut.

The more John Soderberg learned, the more he wanted

to learn. He started studying under the respected fine

arts instructor Tuck Williams who taught bronze casting

at the University of Northern Arizona in Flagstaff.

John learned bronze sculpting so well, that he became

involved in teaching it others, and to date has helped

some 3000 persons learn the craft.

“Flower Sutra”

Anyone talking to John Soderberg very long also will

be introduced to yet another passion of his: service

to others. A few highlights from this side of his career

include the fact that he was a founding member of

Rancho Feliz Charitable Foundation, an Arizona nonprofit

created to benefit people on both sides of the

Southern border with forays into providing famine relief,

granting scholarships, assisting with medical benefits, and

managing a variety of worthy projects. He has created

two bronzes for Amnesty International, sculpted the

“Freedom Award” for an international group fighting

contemporary slavery and human trafficking with

Archbishop Desmond Tutu, Demi Moore, and many

“The act of encapsulating

empathy in some medium,

be it dance or music, painting

or sculpture, simple stories or

more complex forms, is my

definition of art. The feeling

and then the sharing of an

emotion or idea – which is

the essence of art – is what

makes us human.”

Knighting by Swedish Count Ulf Hamilton, 2006,

and honorary induction into the Hamilton Family

– John M. Soderberg

30 ARTSOURCE Arizona

other notable people. He was Knighted

by a Swedish Count for his service

to women and children and for his

contributions to the world of art,

and he has officiated at numerous

weddings as an ordained Christian

minister since 1997.

Most recently the talented sculptor was

commissioned to produce the distinctive

“Justice Ruth Bader Ginsburg Woman of

Leadership” award which bears her portrait, and

which was presented in 2020 to Agnes Gund for her work in social

advocacy. This initial presentation was made at the Library of Congress

in Washington D.C. by the late Ruth Bader Ginsburg herself and is

planned as an annual event.

Soderberg’s two daughters seem to have inherited the sculptor’s

proclivity for sculpting and casting in bronze. Both Misty and Heather

are known as accomplished sculptors in their own right, Misty living

in Arizona and Heather in Oregon. Heather is currently sculpting one

of the largest bronze eagles ever made, a massive 12 ton Bald Eagle

featuring a fifty-five foot wingspan. The giant cast bronze creation will

be trucked in three sections and assembled onsite wherever it lands.

When all is said and done, bronze remains the passion of John

Soderberg. His fascination however is still found with the sometimes

lonely, timeless and ultimately noble drama of the human experience.

This is manifest as he sculpturally explores worthy human themes in

a manner capable of awakening the viewer’s emotion, and in a manner

worthy of bearing the signature of John M. Soderberg.

For more information visit www.SoderbergBronze.com. 4

TOP LEFT: Julie Opperman, Justice Ruth Bader Ginsberg, and

recipient of the 2020 “Justice Ruth Bader Ginsburg Woman of

Leadership” award, Agnes Gund | TOP RIGHT: John M Soderberg,

1989 with “Poreia” clay original | BOTTOM: John at work with

his creations | OVERLEAF: "Birdwoman"




a 6-foot high bronze

of Sacajawea depicts her

dutiful attendance to the

task of being a guide

pointing the way, while

her left arm reaches back

to care for her papoose.

32 ARTSOURCE Arizona

By John M. Soderberg



Patrick Schweiss

Toasting the Talent

We have attended and supported the Sedona International Film

Festival since before moving here 18 years ago. Gradually, we have

increased our sponsorship of the festival because of its tremendous

contribution and value to the Sedona and Verde Valley communities,

not to mention its value as a premier arts venue.

Reaching this level of success does not happen automatically.

It always comes down to a matter of leadership. Sixteen years ago

Patrick Schweiss became the de facto leader and pied piper of our film

festival. Margaret Thatcher once said, "Don't follow the crowd; let the

crowd follow you." And, we did - how lucky for us.

– Bill & Susan Cammock

Photo by Gary Glenn

ARTSource Arizona is pleased

to host Toasting the Talent to

spotlight exceptional people in

the arts.

We discovered that the name

of Patrick Schweiss, Executive

Director of the Sedona

International Film Festival,

cannot be mentioned without

attracting superlatives. Here’s a

few recently heard.

I have known Patrick Schweiss professionally for over two decades.

I have always thought of him as an important person. He is focused

on the task at hand and he seems to be so extraordinarily kind in his

perseverance for a successful completion.

When he took on the new responsibility of the Sedona Film Festival

in 2004, I stared in awe at how amazingly well he did, and more so

that he made a seemingly impossible task look so easy. It is my firm

opinion that we are all lucky to know him...!

– Marty Herman, Exposures International Gallery

34 ARTSOURCE Arizona

There is really no one quite like

Patrick. He is most certainly one

of a kind.

– Connie Levinson

Yes, yes, yes,........ to the

consistent questions I have

been asked about Pat Schweiss:

Yes, Pat is that much fun to

work with! Yes, Pat is always

upbeat, happy and positive!

Yes, Pat is so passionate about

life and lives it to its fullest!

The film festival, the Sedona

community is very grateful and

blessed to claim this incredible

personality as its own. And we,

to call him a dear friend.

– Beverly Hurff and

Earle Weatherwax

There’s no doubt why the Sedona International Film Festival is one of

the most beloved events in Sedona – and that’s because of the passion,

enthusiasm, and contagious energy of their Director, Pat Schweiss. Not

only does Pat and his team bring top-notch independent films, but their

festivities and access to some of the world’s most revered professionals

make this a “bucket-list” event for locals and visitors alike. Combine Pat’s

endless gusto, thought-provoking films, and the stunning scenery of

Sedona and you have an event that never disappoints.

– Jennifer Wesselhoff

Patrick’s love of movies and hence his love for the Sedona International

Film Festival and the Mary D. Fisher Theatre is the driving force behind

our success. His energy is always positive, and infectious, pulling everyone

he meets into his world and what a fun world it is. Before I joined the

Board of Directors Patrick worked with my mother Marion Herrman who

was one of the founders of the Film Festival years ago. She would rave

about how wonderful he was. She absolutely adored him, which is not

surprising because now that I have been on the Board of Directors these

last 7 years, I can appreciate all the creative talents and boundless energy

that he has.

– Patty Herrman-Juda

Patrick is beloved in Sedona!

His star shines every bit as

bright as those appearing on his

silver screen. Warm, generous,

animated, sincere, and grateful

– always so grateful. He's

Red Rock Country's treasure.

Cheers, Patrick!

– Pat & John Currivan

Pat is a dynamo whose

leadership makes the Sedona

International Film Festival

“the cultural heart of Sedona.”

His passion for independent

film is contagious.

– Chuck Marr, Board Chair

In a nutshell, Patrick is always

super friendly, caring and the life

of the party. A true gem!

– Jill Kyriakopulos

Pat Schweiss is the spark that

makes the powerful SIFF

engine run. More importantly,

I appreciate him as a

thoughtful, considerate, and

decidedly congenial member

of the human family.

– Greg Lawson

I always so say that Sedona is one of the luckiest communities in the world

because we have Patrick Schweiss in it. His contribution here is beyond

measurable. EVERYONE loves Pat!! His talent and generosity has a huge

ripple effect. I've been a sponsor of the Sedona International Film Festival

for 19 years now. I've witnessed the growth and respect that the festival has

gained due to Patrick's participation and leadership. It's so impressive and

so is HE. I appreciate Pat in so many ways but most of all as a kind, loving

and wonderful friend!

– Glenn Scarpelli



“Man is

least himself


he talks

in his own


Give him

a mask,

and he will

tell you the


– Oscar Wilde

36 ARTSOURCE Arizona

“Rebel” Photo by Larry Pollack

“Nature’s Voice” Photo by Larry Pollack for Wetico Project

Body being painted by artist

Patty Miller for a photo shoot

of Pash Galbavy as “Wonder”

– the Actualizing Tendency.

Photos by Susie Lang

Performance artist and mask

maker, Pash Galbavy makes

exploring and revealing the inner

world of human identity and emotion

an art.

Using masks and movement

she incorporates improvisation,

storytelling, dance, myth, along with

personal and collective healing ritual.

“My archetypal masks often

represent challenging emotions that

people tend to try to avoid and my

passion is embodying them in ways

that help viewers reflect upon and

better understand and accept these

aspects of themselves and others.”

Pash began making masks over 25

years ago with her stepmother, Los

Angeles psychologist Liza Hughes

who used the Voice Dialogue

methods of Hal and Sidra Stone with

mask work to identify different parts

of oneself.



ARTSOURCE Arizona 37

“Wonder” the Actualizing Tendency. This mask represents what Carl Rogers, the father of humanistic psychology called “the actualizing tendency,” which is the

part of ourselves that reached towards the light and self actualization regardless of external circumstances. Photo by Susie Lang

“Pleaser” Photo by Larry Pollack

“After making just one mask that

represented an inner archetype, I

couldn’t stop making more. To this

day, I continue identifying and naming

different inner parts, making masks

and then performing with them.”

One of her favorite mask projects

was the “Hope and Trauma in a

Poisoned Land” – a uranium mining

educational art project and show

at Coconino Center for the Arts

in Flagstaff. The project highlighted

the impact of over 1000 abandoned

uranium mines on Navajo land –

hundreds of which are within fifty

miles of Flagstaff.

A grant she received with

photographer Larry Pollock, and

subsequent mask shows and articles

written about “Wetiko,” an Algonquin

spirit of insatiable greed, also tops

her list of favorite past projects.

She added, “It was also very powerful

to do a photo shoot with masks with

photographer Jorge Vismara on the

38 ARTSOURCE Arizona

Photo by J.D. Peterson

Photo by Bob Coates

“Grief” at Inside-Out Climate Care presentation.

homesite of my family home of 48-years that burned in the

Woolsey fire, and then to do a mask show related to climate

and the fire.”

Pash has an MA in Communication Studies and is the

recipient of numerous artist grants, including several from

the Arizona Commission on the Arts and two from the City

of Sedona.

“I studied for several years with Natalie Rogers, considered

by some to be the mother of expressive arts, at the

Person Centered Expressive Therapy Institute in Northern

California and also studied for many years with Peggy

Natiello, a prodigy of Carl Rogers, who is often considered

the father of humanistic psychology.”

She has performed at various festivals and public and private

events in the US and Australia. Pash has taught mask making

to many groups including elementary and high school

students, community and

mental health groups, and

has also offered mask

making as part of the City

of Sedona’s Artist in the

Classroom project. “My

partner and husband, Marty

Landa, and I developed

the first easy and fast,

environmentally friendly

mask making kit,” she


“Wetico” spirit of insatiable greed.

Photo by Larry Pollock

She added, “I was a

member of a Playback

Theater troupe and have

“Happy” the Hummingbird Spirit at the Sedona Hummingbird Festival.

“Emptiness” at Woolsey Fire site.

Photo by John Tannous

“Compassion” at an open, abandoned uranium mine on the Navajo

Reservation for "Hope and Trauma in a Poisoned Land" uranium mining

educational art project.



© 2019 by Jorge Vismara

had many years of training with a variety of alternative

and expressive dance and movement forms including

butoh, contact improvisation, 5-Rhythms, and Authentic

Movement. I joyfully and gratefully bring all of that work to

bear in the mask and movement work I am blessed to be

able to offer in private and public settings.”

“Ultimately, in all of my artistic practices, my goal is to help

inspire a more understanding and compassionate view of

ourselves, humanity, and the world.”

To learn more about Pash’s mask & movement work,

see www.UnmaskIt.com. 4

40 ARTSOURCE Arizona


| “Woe of the World”

| “Compassion” holding “Woe of the World”

Photos by Larry Pollack





The Heart


The Beat

By Lynn Alison Trombetta

Modern Drummer Magazine once called

internationally renowned drummer, Lewis Nash

“the most valuable player” in jazz. A performance

center named after him, The Nash Jazz Club, located in

central Phoenix is also the home of Jazz in Arizona, a

nonprofit organization founded in 1977 that encourages

and supports the performance of, and appreciation for, the

great American-born art form called jazz. I wanted a sense

of the beat that drives Lewis Nash, here’s what I got in a

recent conversation with him.

The Beat Photo: Carrie Motzing

42 ARTSOURCE Arizona

“I am inspired by my students,” Lewis shared. “As you

can imagine, being remote at ASU during the pandemic

offers a challenge for the Jazz Studies program, but we’re

finding ways to engage. I find inspiration in their readiness,

preparedness and engagement and that keeps me wanting

to be ahead of them – you know, have my material ready

and just be ready to learn from them as well. With the

privilege of being a professor at ASU, I can share many of

the experiences I had when traveling the world and doing

all the things I did as a career performer. I’m able to distill

those experiences and bring the knowledge I gained into the

classroom and into my interaction with the students.”

Born and raised in Phoenix, Lewis began playing drums at

age 10 and by the age of 18 he performed with local jazz

groups. He attended ASU where he was a broadcast major

with no vision about music becoming his career. “Music

was something I had always done and enjoyed, but I hadn’t

chosen it as a career path, maybe because I didn’t know

any professional musicians or anything about the life of a

professional musician.”

Things changed when a fellow musician from the music

department approached him after rehearsal and asked if he

was a music major. “I said I wasn’t. I was an undergrad, he



Photo: Ayano Hisa

was a graduate student, and he added,

‘So, you don’t plan on going into

music as a career?’ When I said 'no', he

commented, ‘I think you’re making a

mistake.’ That was one of the earliest

of heart-prompts – ‘Okay Lewis, stop

and think about what this person is

saying to you.’”

Once the seed of that dream was

planted, things happened quickly

for Lewis. “I flew to New York and

auditioned for the singer, Betty Carter.

She selected me and next thing I

know, a couple weeks later we’re in

Washington DC and I’m playing

on stage with this international star.

Lewis Nash and students from Vail Jazz. Photo: Steven Pope

44 ARTSOURCE Arizona

Kid. Find something else.’ Every night, I

heard that so I was constantly exploring

and being creative with her and that was a

good thing to get early on – and that has

stayed with me.”

Lewis performs at The Nash, but his heart

is also working with the student musicians

who take part in ensembles, jam sessions

and other educational activities offered

there. “I try to instill in my students a kind

of self-discipline which can lead to the

mastery of self and a mastery of technique

that will elevate them to the highest

levels of musicianship. So to me it’s not

about genre – it’s style, musicianship,

professionalism, self-motivation and

such qualities I believe can be instilled.

Talent without those things can stagnate

or under-develop. So I try to impress

And then I’m in Europe. It was a

whirlwind for me – it threw me into

the fire, so to speak, after those years

in Phoenix and New York. I was

traveling the world for the very first

time performing music, understanding

what world traveling means with

airports and train stations, being up

early for hotel departures and all that

kind of stuff. It was all new to me. I

was really having to learn a lot about

being an adult and a professional

musician with the responsibilities that

go with that such as being on time and

learning to read music. With Betty,

I learned about being a professional

musician on the road. She encouraged

me to always search for new things to

play so I wouldn’t become a habitual

player. She called me ‘Kid’ back then

because I was 22 when I joined. She’d

say, ‘I already heard you play that,

Lewsis Nash at Nash 7th Anniversary. Photo: Steven Pope



Lewis Nash presents The Jazz Beacon Award to Double Bassist

Ron Carter in 2020 at downtown Phoenix Jazz Club, The Nash.

Lewis Nash created The Jazz Beacon Award to honor legendary jazz

musicians in recognition for their contributions to the world of jazz.

Photo: Joseph Berg

attaining qualities like these to achieve a greater level of

proficiency at whatever you’re doing. When these are in

place, the elements necessary to do things on the highest

level, you need to add to that mix the openness to other

people’s musical vision so you can collaborate. It’s not all

about how you personally see it or hear it. If a person has

that openness and you combine that with a high level of

musicality and technical proficiency and have an openness

to collaborate, those are all the makings for success.”

And what of his own early years? Lewis chuckles as he

recalls them. “Can you imagine me leaving Phoenix and

going to New York City? And I lived almost 40 Years in

New York, that’s nearly all of my adult life! When I think

about it, it’s just amazing. I didn’t give-up. I kept my nose to

the grindstone.”

He adds, “But I think my best is yet to come.”

As it comes, Lewis Nash will surely be counted among the

artists who have made a difference in other people’s lives;

through his performance career, through his teaching and

through life experiences shared with those who will follow

in his footsteps. As the best comes his way, Lewis Nash will

take it in his own hometown of Phoenix, where he has now

returned – and the beat goes on.

To learn more visit www.TheNash.org. 4

The Nash Jazz Club envisions an inclusive ever-expanding community that experiences, learns about, and supports the art of jazz.


46 ARTSOURCE Arizona






200293_SedonaArtSource_Ad-R1.indd 1

1/6/21 9:57 AM



48 ARTSOURCE Arizona





Kitchen Fires

Burning Through a

Collective Century

of Culinary Service


Gerardo’s Italian Kitchen

2675 West State Route 89A

Sedona, Arizona 86336




Peggy Moffitt modeling dress designed by

Rudi Gernreich, Fall 1971 collection.

Photograph © William Claxton, LLC, courtesy of

Demont Photo Management & Fahey/Klein Gallery

Los Angeles, with permission of the Rudi Gernreich


In the 1960s social convention was being challenged

at almost every turn. When it came to the field of

fashion the name of Rudi Gernreich proved to be

synonymous with that challenge. The Austrian-born

immigrant to America famously tested the fiber of

European fashion concepts with ideas that had been

maturing within him for more than a decade. He

succeeded in supplanting tradition with daring new

form, introducing non-conforming materials and avantgarde

design elements to take his place on Fashion






Peggy Moffitt modeling ensemble designed by

Rudi Gernreich, Fall 1968 collection.

Photograph © William Claxton, LLC, courtesy of

Demont Photo Management & Fahey/Klein Gallery

Los Angeles, with permission of the

Rudi Gernreich trademark.

50 ARTSOURCE Arizona

Rudi Gernreich holding

bolts of fabric, 1966.

Photograph © William Claxton, LLC,

courtesy of Demont Photo Management &

Fahey/Klein Gallery Los Angeles, with

permission of the Rudi Gernreich trademark.

The Phoenix Art Museum will be

hosting an exhibit of Gernreich’s

work from April 7 through

September 26, 2021, in the Steele

Gallery. This special exhibition

is not to be missed by those

interested in fashion design and

illustration. Consider comments

and historic images provided by

museum curators responsible for

showcasing a span of Gernreich' s

creative career.

Peggy Moffitt modeling trompe l’oeil

ensemble designed by Rudi Gernreich,

Resort 1971 collection.

Photograph © William Claxton, LLC, courtesy

of Demont Photo Management & Fahey/

Klein Gallery Los Angeles, with permission

of the Rudi Gernreich trademark.

Peggy Moffitt modeling ensemble

designed by Rudi Gernreich, Resort

1968 collection.

Photograph © William Claxton, LLC,

courtesy of Demont Photo Management

& Fahey/Klein Gallery Los Angeles, with

permission of the Rudi Gernreich





Peggy Moffitt modeling ensemble designed by Rudi Gernreich, Fall 1968 collection. Photograph © William Claxton, LLC,

courtesy of Demont Photo Management & Fahey/Klein Gallery Los Angeles, with permission of the Rudi Gernreich trademark.


– Deputy Director for Curatorial Affairs and

the Selig Family Chief Curator of Phoenix Art Museum

“I had been speaking with Brooke Hodge, who was

then curator of design at Palm Springs Art Museum

about the Museum’s fashion design department prior

to the arrival of Helen Jean, the Museum’s current

Jacquie Dorrance Curator of Fashion Design. Brooke

had mentioned seeing Fearless Fashion at the Skirball

and highly recommended that I see it, too. I went

Left: Peggy Moffitt modeling George Sand pantsuit

designed by Rudi Gernreich, Fall 1967 Collection.

Photograph © William Claxton, LLC, courtesy of Demont

Photo Management & Fahey/Klein Gallery Los Angeles,

with permission of the Rudi Gernreich trademark.

Opposite: Rudi Gernreich laying out a pattern, 1966.

Photograph © William Claxton, LLC, courtesy of Demont

Photo Management & Fahey/Klein Gallery Los Angeles,

with permission of the Rudi Gernreich trademark.

on the very last weekend it was open, during Labor Day

weekend 2019, and met with the exhibition’s curators, who

expressed great interest in the show traveling to Phoenix.

“Rudi Gernreich and Peggy Moffitt were two of my

obsessions during my college years, especially after seeing

the movie Blow Up. I wanted to share that enthusiasm

with the Phoenix community and younger generations

who have never heard of this designer. Gernreich’s work is

particularly relevant today as we continue to break barriers

around gender and racial stereotypes and LGBTQIA+

inequality. His commitment to social politics is particularly

salient at this moment, and it is important to acknowledge

that his activism drove his designs. I want people to come

away with the important fact that being socially and

politically active can actually make you a better and more

compassionate artist with convincing urgency.”

Rudi Gernreich. “George Sand” ensemble (jacket, vest,

blouse, pants, skirt), Fall 1967. Embroidered velvet, silk

satin. Collection of Peggy Moffitt. Photo by Robert Wedemeyer.


Peggy Moffitt in Nehru ensemble designed by

Rudi Gernreich, Resort 1965 collection.

Photograph © William Claxton, LLC, courtesy of Demont

Photo Management & Fahey/Klein Gallery Los Angeles,

with permission of the Rudi Gernreich trademark.

Left: Rudi Gernreich with models wearing

his designs in front of Watts Towers, c. 1965.

Photograph © William Claxton, LLC, courtesy of

Demont Photo Management & Fahey/Klein

Gallery Los Angeles, with permission of the

Rudi Gernreich trademark.

Opposite: Contact sheet of Peggy Moffitt modeling a caftan designed by Rudi Gernreich, Fall 1967 collection.

Photograph © William Claxton, LLC, courtesy of Demont Photo Management & Fahey/Klein Gallery Los Angeles,

with permission of the Rudi Gernreich trademark. Rudi Gernreich papers (Collection 1702). Library Special

Collections, Charles E. Young Research Library, UCLA.



Peggy Moffitt modeling the

topless swim suit designed by

Rudi Gernreich, 1964.

Photograph © William Claxton, LLC,

courtesy of Demont Photo Management

& Fahey/Klein Gallery Los

Angeles, with permission of the

Rudi Gernreich trademark.

“The garments from this

exhibition range in date from

the 1950s-70s, a period of

important advances in synthetic

textiles. Polyester and spandex

both became available during the

1950s, and Gernreich was one of

a handful of designers pioneering

the use of stretch fibers in fashion.

You can really see the influence of

these new body-hugging textiles

in Gernreich’s designs.


– The Jacquie Dorrance Curator of Fashion Design

of Phoenix Art Museum

“This exhibition is not a retrospective of the designer’s

entire life’s work, but rather an interaction of fashion

design and social justice. 67 dressed ensembles are

presented in sections such as Youth Culture & Politics;

Experimental Fashion & Legacy; Unisex & Solidarity.

Guests will learn how Rudi fused his sense of social

activism with personal expression as well as the ways

he celebrated the natural human form with new

synthetic fibers, stretch fabrics, and gender neutral

dress. In addition to dressed ensembles, a large number

of photographs and other didactic material help to

explore this narrative in depth.

“The topless bathing suit and

the duotard, designed for a

dance performance, are going

to be crowd favorites, and ones

I’m personally excited to see.

Gernreich’s work in unisex and

gender non-conformity dress will

also be very interesting to explore.

There we see his work with unisex jumpsuits, skirts,

pantsuits, and the caftan. His work is all about the

body. Some of his greatest hits are the topless bathing

suit, the 'no-bra' bra, and the thong. So a lot of the

exhibition is about revealing the natural human form

through fabric stretch and garment design. Another

must see is the 'Marlene Dietrich' white satin pantsuit.

This look was removed from the runway show at the

1964 Coty American Fashion Critics Awards Fashion

Show for being too scandalous.”

Phoenix Art Museum

1625 N. Central Avenue, Phoenix

>>> For more information visit www.phxart.org. 4

56 ARTSOURCE Arizona

Clockwise from top:

Dancer Serena Richardson

in costume designed by

Rudi Gernreich for the

Lewitzky Dance Company’s

Inscape production, 1976.

Photograph © Daniel Esgro.

Rudi Gernreich with Peggy

Moffitt modeling the “Marlene

Dietrich” pantsuit, 1964.

Photograph © William Claxton,

LLC, courtesy of Demont Photo

Management & Fahey/Klein

Gallery Los Angeles, with permission

of the Rudi Gernreich

trademark. Rudi Gernreich papers

(Collection 1702). Library

Special Collections, Charles E.

Young Research Library, UCLA.

Dancers Loretta Livingston

and Kurt Weinheimer in

“duotard” costume designed

by Rudi Gernreich for the

Lewitzky Dance Company’s

Inscape production, 1976.

Photograph © Daniel Esgro.



Lynn Alison Trombetta

Vast stretches of the high deserts of northern Arizona and the desert southwest

painted ‘alla prima’ in oil reflect a lifetime of loving nature. Peaceful cloudscapes

and landscapes offer gentle ‘forever places’ to return to time and time again.

Cloudscapes • Landscapes • Wildlife


58 ARTSOURCE Arizona



“Lanterns Along The Path”

The Allegorical Art of James N. Muir

Part Two

This second book in the Lanterns Along the Path

Series continues Muir’s sculptural observations

on our individual and collective journey through

the Labyrinth of life. Eloquently using the age-old

language of symbolism, both written and artistic,

this treatise on his “Allegorical Art” serves as

a guidebook for fellow travelers on “the Path.”

$50.00. Learn more at www.JamesMuir.com.

Exposures International Gallery is now engaged

in a year-long celebration acknowledging 2021 as

their 25th Anniversary.

Located in the heart of Sedona and showcasing

over 100 artists in 20,000 square feet of

exhibition space, Exposures International Gallery

is appreciated as “One of the largest and most

unique galleries in the world.”

Plans are being readied for commemorations to

peak in a spectacular fall show not to be missed.

Visit Exposures International Gallery of Fine Art

at 561 State Route 179 in Sedona and online at






Arizona has a warm welcome for newcomers and

painterly artist Khrystyna Kozyuk has arrived to bask

in that warmth.

Khrystyna's formative years were spent in her native

Ukraine where she began in the arts as a child. She

decided to emigrate to the United States and in 2005,

after graduating from university, took that leap.

Khrystyna has made the choice to devote her life to art

as a service. Whether through painting, art therapy, or

creating and transforming cold, lifeless environments with

mixed techniques and materials, her art is intended to

be recreational therapy to help heal the stressed human

condition. "My creativity knows no boundaries, and often

keeps me awake at night, inspiring me with new ideas to

share," she says. "I have experimented with a variety of

techniques. When looking at my work one will see paint

applications that range from thin to thick, opaque to

translucent, matte to glossy, and smooth to scratched."

Whether through her paintings or interior design work,

Khrystyna’s lifelong talents delight many and help to make

the world of her clients and collectors a cheerful and

more beautiful place.

Visit Khrystyna’s working studio and art gallery at 2710

West State Rote 89 A, Suite B, in Sedona and see more

online at www.KozyukGallery.com.

Crystal Flowers

60 ARTSOURCE Arizona


We welcome paint artist Franck Boistel as a newcomer

to Arizona. Though a native of France, Franck has been

a visitor to and an aficionado of the Southwest United

States for nearly 30 years. His fascination is with the

entire culture he has discovered from the Southern

Rockies to the Pacific Coast.

Memorial Rider 2


As a painter, recreating his experiences and discoveries on

canvas, he has been especially enamored with the idea that

he has found a similarity to his French culture among the

Native Americans: respect for the elders, an appreciation

for history, and the commitment to protect the ancestral

land and heritage.

"My art reflects my appreciation for the beauty of the

people, the wildlife, and the vivid colors that often

surround them," Franck says. Contact him at


Sedona Arts Academy was established in March 2020 as

an educational and cultural community center committed

to innovation and creativity across the spectrum of the

arts. SAA is overseen by dedicated professional artists

from across several disciplines working in collaboration

to ensure broad representation.

The Academy aims to provide a

nurturing, educational environment

to encourage all to excel at achieving

their artistic goals. “There are many

performing artists, fine artists,

emerging artists and young artists

who live in this magnificent area of

Northern Arizona,” says Camilla

Ross, President, “and Sedona Arts

Academy is a venue where artists of all ages and stages can

have a place to showcase and sell their art.” SAA is also the

resident home for affiliated pursuits, including Emerson

Theater Collaborative, Sedona Chamber Ballet, Sedona Arts

Conservatory and Sedona Shakespeare Company. Sedona Arts

Academy offers a variety of classes,

theatrical events and workshops to

entertain and benefit the community

at large. The Academy is housed in

the Village of Oak Creek at The

Collective. More information can

be obtained by contacting Camilla

Ross, 928-288-2258 or by

visiting the Academy online at


Photo: Larry Kane



62 ARTSOURCE Arizona


Aros Crystos is a life-conscious,multi-dimensional artist on a global mission: a

mission to awake consciousness through art.

All of Aros’ artistic pursuits tap into the recognition that vibration is part

of the makeup of all animate and inanimate details of our known existence.

He promotes and employs the use of sound frequencies from both the

entertainment and healing perspectives. He was recognized as “Most

Transformational Artist” in 2007 at the LA Music Awards.

For decades he has championed the

causes of dolphins and whales, the ocean,

and honoring the indigenous relationship

with Mother Earth and the Universe.

An Original painting by Aros Crystos,

8”x10” was created using the dolphin

light energy and is available to view

upon request by contacting

808-854-4730 or online at Aros.life

Whether on stage as a performer, in the

studio as a painter, or working in fashioncreation

mode by producing custommade

articles of clothing that match the

frequencies of the wearer – Crystos is

constantly attuned to the energies that


His theme includes an astute awareness that every person is valid, and as a

member of the galactic pattern is part and parcel of the Universe, entrusted with

the precious privilege of time, and is therefore a bearer of universal privilege and

responsibility. “The entire creation is born in light, is sustained in light, and merges

back into light,” he says.

Currently on a global tour promoting his art, custom clothing line, and a Galactic

Federation model, Aros made a stop in Arizona to relish Southwest style, and to

contribute to it by creating a mural at the Ultimate Light Mission in Sedona.

Aros’ Clothing Line, Galactic Orgasm

Design may be seen and ordered

through: The Victorian Cowgirl, 181

State Route 179, Sedona, Arizona,




Amid the world-turned-upside-

down impact of COVID-19

and unpredictable return

to normal, there is good

news: there will be a

Sedona International

Festival in 2021.

The annual 9-day

immergence in all

things independent

film, June 12-20 –

certainly, a welcome

respite and lovely

opportunity for

escapism – carries on the

incredible 27-year tradition

and legacy that has generated

widespread accolades and

worldwide attention.

There will be films, and plenty of them.

They will entertain, educate, enlighten and even

perhaps ignite a range of passions that will underscore

hours of compelling conversations driven by the films

themselves. But this iconic festival, at least for this year,

won’t look – or feel – like the 26 that preceded it.

“It’s no revelation that our world has changed on so

many levels,” said Festival Director Pat Schweiss. “Since

the pandemic struck, we have rethought, reconfigured

and refreshed how we operate the Mary D. Fisher

Theatre on a daily basis and the annual Sedona

International Film Festival for

2021.” With apologies (and

maybe thanks) to Disney,

think of this year’s

event as the “Festival


“That concept takes

on many different

meanings, and things

will look different,

but most important

for myself, our staff

and board of directors

is that we wanted to

ensure and design a

scaled-down version of the

Sedona International Film

Festival that offers all that

we have become known for

in an environment that is safe

for everyone,” Schweiss said. “And,

we look forward to returning to the format, depth and

breadth of the previous festivals when the calendar

turns to 2022.”

What’s it all mean? It means a diverse range of full-

length features, shorts, documentaries, and foreign films

offering something for everyone. It also means health

and safety protocols and social distancing applied to

every aspect of the Festival. “There won’t be as many

films as we’ve had in the past, but the quality and

diversity that has been our hallmark continues to drive

64 ARTSOURCE Arizona

Anne Meara & Jerry Stiller

Nicolas Cage

Mariel Hemingway

Jane Seymour

Naomi Watts

Susan Sarandon

Mackenzie Phillips Richard Dreyfuss Doris Roberts



Photos provided by Sedona International Film Festival

Conversations with the artists

the three screening committees

reviewing the thousand-plus

films that have been submitted

for consideration,” Schweiss said.

“We’re scaling down in the number

of films, but we’ll be showing them

more often in fewer theaters.”

Films will be screened in socially

distanced adapted theaters at the

Mary D. Fisher Theatre, Sedona

Performing Arts Center (SPAC) and

the two largest theaters at Harkins


To eliminate lines in lobbies or

outside the Mary D. Fisher Theatre,

“we’re working on a system that

allows ticket buyers to choose

specific seats – based on theater

diagrams for each venue,” Schweiss


A sampling of the Festival films may

also be offered virtually and there’s

even consideration of setting up a

“drive-in theater” for patrons to

experience not just the films but

the nostalgia of those long-gone

days of families being together,

surrounded by popcorn smells and

the sound of films delivered to their

cars. Other adaptations may change

the concept for the evening parties

and operation of the Film Festival

Lounge where patrons, filmmakers,

sponsors and staff gather each day.

“Safety, and bringing great films to

Sedona, is motivating every action

we take,” Schweiss said.

Bella Gaia

That’s one thing that hasn’t changed:

bringing great films and inspiring

talent to Sedona – people like

Rob Reiner, Susan Sarandon, Billy

Zane, Cloris Leachman, James

Brolin and Elliot Gould to Richard

66 ARTSOURCE Arizona

Bella Gaia

Dreyfuss, Mariel Hemingway, Nicolas

Cage, David Strathairn and Peter

Bogdanovich. The Sedona International

Film Festival has been a gathering place

for the filmmaking elite. And the films?

They cover the spectrum from Oscar-

nominated to Oscar winners to world

premieres and the launching pad for

new and upcoming filmmakers.

“At a time when it seems like

everything is so topsy-turvy, we take

great pride in sending the message

that the Sedona International Film

Festival offers a level of comfort and

consistency and, of course, great

entertainment,” Schweiss said.

Modifications at screening venues will

ensure appropriate social distancing and

masks will be required for films scheduled

at the Mary D. Fisher Theater, Sedona

Performing Arts Center (SPAC), and the

two largest theaters at Harkins 6.

Bella Gaia – Beautiful Earth

is a LIVE Performance

combining visualizations

from NASA, orbital views of

Earth, cultural photography,

live music and dance from

around the World enjoyed

by Film Festival attendees

in 2020. | Photos provided by

Sedona International Film




Additional modifications include:

• To eliminate waiting lines and

congregating at the theaters, pass holders

and individual ticket buyers will be able to

choose their seats. Staggered start times

will allow filmgoers to move directly to

their seats when the doors open.

• Masks will be required in all venues

and staff and volunteers will have their

temperature taken every day.

• Northern Arizona Healthcare

professionals will be on-site to monitor

safety protocols and be available to

answer questions.

Schweiss said that filmmaker workshops

will be offered both on-site, with

attendance limited and social distancing

in place, and online. A full schedule of

workshops will be available in May.

“We are moving with an abundance

of caution and an equal abundance of

excitement because we are seeing some

incredible films coming our way and the

new features will add another level to the

Festival film experience,” Schweiss said.

Gold Passes offering unlimited films for

live viewing and Virtual Screening Passes

will go on sale in early spring with Early

Bird Discounts. Single tickets will go on

sale at a date to be announced. There

will be no 10-and-20 ticket packages

this year “because, given the reduced

seat capacity in each theater, we can’t

guarantee seats will be available if the

theaters reach capacity.”

Rob Reiner receives Lifetime Achievement Award from SIFF Director

Patrick Schweiss, shown above with Composer/Lyricist Marc Shaiman.

(Below) Reiner in conversation with SIFF attendees.

The complete lineup of films will be

available early in 2021. Those seeking

more information can visit

www.SedonaFilmFestival.com. 4

68 ARTSOURCE Arizona

C E L E B R A T I N G 2 7 Y E A R S !

The BEST independent films from around the world!

JUNE 12-20, 2021

928.282.1177 www.SedonaFilmFestival.org



Shondra Jepperson

Dev Ross

70 ARTSOURCE Arizona

From the set of “Hot Flashes On the Trail” at The Blazin’ M Ranch. Photo: The Blazin' M Ranch.


Two Lucy s

“It’s Playtime for Grownups”

By Lynn Alison Trombetta

The forces that brought Shondra Jepperson, a talented stage

warrior, and Dev Ross, a California surfer girl together in a

place like Sedona, Arizona can only be described as magnetic.

Dev tells it like this: “Immediately after college, I worked with

a touring theatre company. I joined Actors’ Equity and was a

performer. Soon I started also writing for the company, and

eventually through working with Disney, I transitioned to

become just a writer. It was Shondra that brought me back to

performing once we connected in Arizona.”

Despite the lightheartedness, the duo shares a hidden

strength: the shared mission that “The show must go on – no

matter what.”

Dev adds, “I think she makes me better, and I make her better.

There’s no competition when we get on stage together. It’s

playtime for grown-ups!”

Much of Shondra’s story happened in California and Las

Vegas before her 2002 move to Sedona with husband, Tom

Jepperson. “I’ve been working as an entertainer professionally

since I was 16 performing both alone and with Tom and also

by having my own bands, lots of theater and loads of good

shows. I entertained there in small venues and large ones

with even thousands of people in attendance.”

The first show these multi-talented women did together was

'Nunsense.' That’s when the magnetism sparked a special kind

of magic. “I realized that my craziness matched hers,” Dev

exclaims. “And we’ve been inseparable ever since!”

Nearly in unison they add, “We were just like two peas in a

pod” … and they amusingly recalled that “we were always

being asked to shut up, be quiet, stop joking, stop laughing,

stop causing trouble. Like kindergarteners!”

Over time, their projects developed into playwriting and

songwriting together. One favorite co-creation was 'Hot

Flashes On the Trail,' their two-woman show. “I always have

her back, and she has mine. I’m a playwright and a television

writer and film writer. I’ve always teamed with somebody

who can write music. But until Shondra, I’ve never ever



Photo: Kimberley Kelley

Photo: Kimberley Kelley

worked with anybody who just read my writing and said, ‘I know

what the score for this should be.’”

Photo: The Blazin’ M Ranch

Shondra reflects, “It’s an interesting thing that we came together

in Sedona with theater, which is the first focus for both of us.

Maybe three or four times in my entire life I’ve had some magical

connection with someone where things come together and the

chemistry’s fantastic on stage. I have that with Tom and I have that

with Dev, and it’s unusual. And, did I mention, we’re best friends?”

Photo: The Blazin’ M Ranch

Shondra and Dev describe their performance characters as

reminiscent of Gracie Allen and George Burns, often switching

back and forth in different performance scenarios, one playing

a Gracie and one playing a George within their characters.

“We have a ball with it and that continues into The Two Lucys.

You also definitely see that relationship in our program, Hot


“The Two Lucys are two women who are defined ‘age

stereotypes’, who are beyond menopause, but also funny,” Dev

comments. “We carry this theme with us because we’re very

creative older women, and we are struggling against a world

telling us we are no longer relevant because we’re older. There

are times where you just accept it, wondering, ‘Should I retire?’

Shondra and I have both gone through that and we always lift the

other up: No! We’re not done. The fire still burns in the pit of our

stomach. We’ll drop dead on stage!”

From the set of

“Hot Flashes On the Trail”

“I never think about retiring,” Shondra says softly. “But there are

times when I don’t know what’s next. We both go through that.

But there’s a passion inside of each of us that keeps just wanting to

72 ARTSOURCE Arizona

do more. I’m really very happy when I’m onstage, and I appreciate

being part of creative teams and producing. I like everything

about this business that I get to do. And when you really

have a connection and you can trust someone on stage

and off stage, that’s unusual. You may have that in the show,

but you don’t always have it on a personal level. We’ve

got both, and I feel really blessed to be working with Dev.

We’re finding a way to reinvent what we’re doing during

these times.”

Shondra and Dev are Founders of

the annual summer improv intense

called Sedona Youth Theatre

She continues, “Bottom line is we’re of the same cloth that

way and with our heritage being two Jewish girls we’ve had

many similar life experiences. We have a similarity in many,

many ways. It keeps us inventing and reinventing.”

She adds, “The obvious influence is Lucille Ball. She was one of my

heroes, along with Carol Burnett. I used to sit in my mother’s

bathroom and make faces in the mirror to see if I could get

those faces down. My definition of The Two Lucys is a team that’s

very animated and passionate about what we do. And that’s

true when we’re together doing anything, whether on stage or

on film, we show up really big. We are strong women and we

are also comedians and also actors, producers and writers.” She

laughs, “Dev’s husband calls us ‘Lucy 1’ and ‘Lucy 2.’”

Dev jumps in, “I have to give you a little backstory on that. My

husband, John Reynolds, worked with Lucille Ball and later,

when he worked with us he said, ‘Oh my God! You guys are

like working with TWO LUCYS!’”

Discover more fun at www.TheTwoLucys.com. 4

“Nunsense” - First Production that Dev and

Shondra were in together. Shown left to right:

(Top) Shondra Jepperson, Christina Hasted

(Bottom) Dev Ross, Helen Brown, Sabrina Carlson

The Two Lucy’s co-produce six different Musical Murder

Mysteries. Shown left to right: Dev Ross, Brad Roberts,

Shondra Jepperson, Tom Jepperson

Photo: Al Comello








Arts & Culture Coordinator

City of Sedona

Photo: Rick Dembow

The Second Wave

Havasu Falls

Through pandemic times city, county and

state offices have all been placed on limited

schedules. The City of Sedona’s City Hall

Art Rotation program had several artists

scheduled for inclusion in public art shows

that did not materialize from May through

December 2020. The artists that were

exhibited on an extended schedule from

January through December 2020 are shown

in this issue of Arizona ARTSOURCE.

Beginning January 2021 the new artists

exhibited are: Ruth Holland Waddell,

Theodosia Greene, Jacqueline Jackson Jordan

and posthumously Dorothea Tanning, Helen

Jordan and Harriet McInnis. The length of the

exhibit is unknown due to Covid-19. Anyone

interested in knowing more can call Nancy

Lattanzi, Arts and Culture Coordinator

for the City of Sedona at 928-203-5078 to

receive information, or email her at



Award winning photographer Mike Koopsen has always been passionate about the

natural world. It is one of the reasons he moved to Sedona. His desire to capture the

spirit of the moment and preserve it for others to enjoy has never diminished. He

began taking photographs more than 25 years ago when he experimented with black

and white film to capture images of his favorite horses. Success in that initial venture

sparked a passion for wildlife, landscape and cultural photography that resulted in many

wonderful journeys across almost every continent and through nearly 70 countries.

Some of his most thrilling adventures have occurred here in the American Southwest.

During these many journeys Mike spent time in places where very few people ever

venture. It is in these places where he experienced a deep sense of awe, excitement and

inspiration, which he captures and shares for others to enjoy. Mike states, "I hope my

images will inspire others to seek out a richer, more personal connection with nature,

as well as increase awareness of the fragile and precious nature of our environment,

which we have the need to protect so future generations can enjoy the wonder I have

been blessed to experience."

Photographer Mike Koopsen & Ellie

74 ARTSOURCE Arizona

Lunch Break at the Little Colorado River

Mary Lois Brown grew up in Pennsylvania, where as a

child she enjoyed drawing and painting horses. “When I

was very young my parents gave me a 'paint by number'

set and I remember taking the left over paint to create

my own compositions. I enjoyed the creative process so

much that I took as many art related classes as I could

Oil Painter Mary Lois Brown

while in school,” said Mary Lois. After a year of studies

with Patricia Cochran in the 1970s, she learned the approach of the Old Masters and

an exciting new world of light and color opened up. For 20 years she lived at the Grand

Canyon, where she had time to explore and observe the beauty of the canyon from river

to rim and found the landscape to be an inspiration. The Grand Canyon is still her favorite

subject to paint. In 2000 she moved to the White Mountains near Show Low, Arizona and

started a new painting career, exploring the west with brush and canvas in hand. While

living there one of her dreams was to paint the depths of the Grand Canyon. A 2006

river trip there fulfilled that dream. About a year later she was invited to the Sedona

Art Center to exhibit her work celebrating rivers. After moving to Sedona in 2008, she

continues to paint, take classes, selling her work and exhibiting at their Fine Art Gallery.



ARTSOURCE Aspen and Lupines Arizona

In All Their Glory



Southern Migration

Interviewed by Erick Hale

There is no doubt that food was among the first elements of human domination to receive

thoughtful aesthetic attention. That will also make food preparation perhaps our most ancient art


Each successive generation of people have determined that the mastery of food preparation will be

a driving motivation in pursuing life’s abundance. The term ‘chef’ has only been around for a couple

76 ARTSOURCE Arizona

hundred years, but the dedication to food required to earn the

title has likely been around as long as we have exercised an

awareness of our habitat.

Enter Chef William Turner. Mr. Turner is surely one of those

dedicated people. Schooled in food preparation since his youth,

Chef Turner started down the path of catered preparation when

he worked as a chef for the DeBordieu (that’s pronounced Debah-doo

in South Carolina) Country Club in South Carolina.

There was a point in the creative cookery education in his

native South Carolina when Chef Turner woke up with an itch to

’taste’ more of the country and started expanding his repertoire

in the national kitchen by working in resorts from the Southeast

to the Rocky Mountains. Three years ago he landed in The Valley

here in Arizona and has worked exclusively as a private chef,

catering to small parties and hosted events ever since.

Let’s bring in the chef and dig a little deeper.

Butter Fried Oyster Salad with Chili Balsamic Reduction and Fresh Caviar

“ The kitchen has always been my special ‘happy place.’

Even after almost 30 years when I step into a clean professional kitchen

I get goosebumps and butterf lies.”

How did you finally land in Arizona?

Grilled Salmon served with Herb Risotto and Grilled Asparagus

My jobs took me to some very wonderful

places and I was confronted with different

temptations for settling down. However my

grandmother had moved to Tucson years earlier

and my aunt later followed suit so family roots

were already being established in Arizona. So

bringing my training in Southern hospitality to

the Southwest was a natural and comfortable

move following a variety of prep and catering


Back to the early years, when did you

realize the direction you wanted to


I was probably 10 or 11 years old when I

realized I loved creating new flavors. I was the

kid adding many different, healthy toppings to

my frozen pizza after school. I was always an



“I am definitely a seeker of knowledge and

understanding, driven by the question,

'What 's next around the corner?'

I ’m also a bit of a risk-taker at times and

that has proven to be a helpful trait.”

William Turner is ready to serve dinner to guests at a Bachelorette Party

Fried Green Tomatoes Low Country Style

with tomato sauce, goat cheese cream and blackened shrimp

adventurous eater. But I was probably 19 or 20 when I

started to understand that I felt truly content, comfortable,

and totally at home in a kitchen. The kitchen has always

been my special “happy place.” Even after almost 30

years when I step into a clean professional kitchen I get

goosebumps and butterflies.

Do you have any specialities?

I focus on technique and contrasting flavors more than a

specific cuisine. But my roots are in the southern states,

from the South Carolina coast to New Orleans. Southern

flare is reflected in everything I do. Also I can add that

French, Italian, and Creole are probably the other styles

that are most reflected in my dishes.

Are there ingredients that you favor or disfavor?

The simple winners that I may have taken for granted

early on, I now revere. Being a private chef, I’ve found that

78 ARTSOURCE Arizona

Chef Turner presents a live cooking demo on the set of

Sonoran Living with Susan Casper and Terri Ouellette

cross utilization is huge, so the versatility of the potato

and the importance of garlic are a couple of the foods I

can't live without and of course the egg may be the most

underrated food in the world.

On the other side, I try to avoid gluten, nuts, and pork

from most dishes. Those ingredients are not necessary in

my cooking anymore. Also, processed foods have done a

number on American’s digestive systems. Allergies are also

more common, so it only makes sense to cut my use of

these back significantly.

Does each prep constitute a new canvas? Is every

preparation unique?

Although I do have set menus available, I do everything

specifically for each individual client. When I cook for

someone I want it to be unique for them. I never batch

cook or batch prep; I scratch cook as much as possible.

What are some memorable personal


I was named “The #1 Private Chef in Phoenix” by

Phoenix Entrepreneurs Magazine. I was also named a

“Yelp Business All-Star.” I feel most proud of my stellar

5-star rating across all rating platforms. That particular

achievement is very special to me because the 5-star

ratings came directly from clients. I can now say that I have

cooked for more than 700 private clients ranging from

celebrities to CEOs to hundreds of happy bachelorettes

from all across the U.S. and Canada. All of the corporate

dinner parties, special anniversary dinners, small wedding

receptions, and customized bachelorette parties that I

have organized and catered for have created wonderful

memories for people. I am proud of my team and for my

assistant Laura Lieder who makes sure our clients are

over-the-top happy with the food, service and overall

experience. experience.



Can you give an eggshell (I avoided nutshell)

version of Chef William Turner?

I love to take classics and give them a new twist, I cook

with love in my heart as I truly believe it comes out in the

finished product. I choose to freestyle and go where my

inspiration takes me. I'm also a little bit of a rebel – but try

not to get crazy, just to be different. I have a deep love for

food, for people, and for creating a good time. I also love

good conversation and this is something that’s bound to

happen when you’re around good food.

LEFT: Tomato Pie Stuffed Mushrooms

ABOVE: Char-Grilled Filet Mignon with a Blackberry

Demi Glace served with Homemade Scalloped Potatoes

and Grilled Asparagus

OPPOSITE: New Orleans BBQ Shrimp


See more at www.ChefWilliamTurner.com. 4

“My primary canvas is the palate, not the plate."

"The depth and array of f lavors I can create far exceeds the visual possibilities.

With the rise of T V Food and Instagram Food, some people are now focusing much more

on visuals and how food looks. To me, presentation certainly matters, but, not nearly

as much as f lavor, texture, depth, and consistency.”

– Chef William Turner



82 ARTSOURCE Arizona




By Lynn Alison Trombetta

The seductive quality of glass has thoroughly influenced

Tom Philabaum’s artistic journey. So one wonders what it

was about the glass that drew him in.

Tom grew up in Toledo, Ohio where many of his relatives had

worked in the Libbey Glass Factory. His primary introduction

to production glass was through those family members. He

spent Saturdays at the Toledo Museum of Art Education Center,

but he had never thought about glass as a possible art form to

pursue until he was in grad school studying ceramic sculpture.

“By day I was an elementary school art teacher and at night I was

working in the ceramics studio. One night my professor came to me

in the studio. He grabbed me and he said, ‘Philabaum, your ideas are

too fluid for clay. Have you ever thought about working in … (he paused

for effect) … glass?’ My hair stood on end! I asked exactly what he meant

Large Reptilian Disk Gold



Tom Philabaum 1982 Today

by 'glass' and he told me there was a

Madison, Wisconsin graduate class for

glassblowing and glass forming. That

sounded really wonderful. Long story

short, I applied and got accepted and

I moved up to Madison, Wisconsin to

study glass making.”

Tom later studied with American

glass artist, Harvey Littleton. “He was

a proponent of what he called, 'The

Glass,’ not just ‘glass.’ Harvey taught

that the glass is there for us to explore

and he urged us to experiment wildly,

and not just use it for the material


Experiment he did! Tom adds, “Glass

is obviously very seductive. It pulls

you in. It’s an incredible material.

One of my other professors warned

me to beware of the ‘seduction’ of the

material – of any material. But thanks

to Harvey, I did a lot of combining

metal and wood and glass – and

throughout my career I labored to

invent new ways of working with

glass. That was very important to me.”

Tom explained that he is no longer

blowing glass. “I’m going on 74 and it’s

kind of sad to be approaching the end

of my working career, because I am

still turned on by a lot of the things

I used to make, and the processes I

developed. I miss it! But then again, I

don’t miss it. It takes a lot of strength

and stamina to work with ‘the glass’

Red Reptilian Bag

84 ARTSOURCE Arizona

LG Scavo Bowl


the way that I used to work with it,

and I don’t have that anymore …

although I still have the desire and I

still have the passion.”

And he still has his notebooks from

the many processes he developed

through the years. He comments, “I

probably will keep all my notebooks

handy. Going back through them,

they’re like journals and it’s always

kind of fun to trace through how you

got to where you ended up.”

Tom’s creative passion still flows

through the glass because it still has

its hold on him, but now he’s created

a new way to express it. “I’ve been a

three-dimensional artist most of my

Large Fused Glass Collage Painting



86 ARTSOURCE Arizona

Egg Teal













Sunrise Rock Sculpture

life, blowing glass and sculpting with

it,” he explains. “Right now, though,

what I’m doing is constructing twodimensional

paintings on glass in

three or four layers with enamels and

using wire, copper leaf and silver foil.

It’s really very fun.”

These latest experimentations

originate as flat paintings that

celebrate color and depth through

overlayering three or four layers of

glass. “I do a painting on the bottom

layer, put another piece of glass on top

of that, then do another painting, so

on and so on until they overlap and

they show depth.”

After reassembling the elements by

stacking the layers he then puts them

into a kiln where they are fired to

1400 degrees until they melt together,

often with happy accidents and lots of


When you talk to anyone as creative

and accomplished as Tom Philbaum,

you're naturally going to get around

Silver Thorn Chalice



to asking about his favorite creative

accomplishments. Among these,

Tom mentions 30 original glass 'flying

carpets' he created as an installation

for the Tucson International Airport.

“It’s pretty cool. I call the piece,

‘Another Way to Fly’ and the colorful

glass 'carpets' swirl in an ascending

circle about 20 feet off the ground in

the airport’s ticketing level.”

To get a sense Tom's creative

collections, including those 'flying

carpets' visit his website:

www.PhilabaumGlass.com. 4

Tom with Hands On II

“Another Way to Fly” Installation at Tucson International Airport

Four Play

88 ARTSOURCE Arizona




“Colors and shapes inspire me ...

Being an observer first, much of my inspiration comes from the world

around us. When traveling I find myself appreciating all that the new

landscapes have to offer. Recently, my time has been spent exploring

different traditions and cultures. From the vibrant colored powders thrown

during India’s Holi festival to the rich pigments seen in Native American

headdresses; I create pieces that offer an abstract approach to these and

other wondrous occurrences in our world. Using an oversized canvas and

paint gives me the opportunity and space to experiment with a variety of

colors, textures, and shapes. In learning different techniques, I am now

using one that I have developed. Creating my own technique using liquid

paint has afforded me the ability to put my own modern spin into each

piece. My ultimate goal with my work is to open your eyes to the beauty

that is around us by showing the viewer my feelings behind each piece.”





90 ARTSOURCE Arizona





ABOVE: NGC 2244 Rosette Nebula in Monoceros | OPPOSITE: IC 443 Jellyfish Supernova Remnant in Gemini | All Photos © Joel Quimpo

Who among us can lift their eyes to

the starry sky and fail to be humbled?

Peering into the heavens invites a

magnetic journey into places unknown. Though we

can look at images taken of the endless magnificence,

we have no way of sensing the realities. The longer we

gaze, the deeper we go, the smaller we become. And

yet we must enter the portal of mystery. We must try

to sense from whence we came.

For astronomers, scientists and artists eager to plow deeper,

eager to share sights and assumptions, the universe offers a

limitless horizon that will continue to mesmerize, enthrall

and produce a belittling effect on our collective human ego.

Who, or what, are we in the face of all of this? If it were

not for the powerfully present, yet ever-foreign side of our

being, we would prove to be mere particles of matter that

matter not a whit amongst the limitless scatter we are just

beginning to perceive.

92 ARTSOURCE Arizona



Introduction by Erick Hale

Joel Quimpo

Joel Quimpo chooses the forested elevations of northcentral

Arizona to call home because of the clarity of sky

and opportunities afforded by that sky to create nighttime

images for his artistic presentations.

“The stars have always captured my imagination. An

interest in astronomy started when I was young while

watching the NASA space missions and moon landings on

TV in the late 60’s and early 70’s,” explains Joel, who got

hooked on personal exploration of space after being gifted

with a small telescope by his mother. In time, he added

a camera to his acquired telescoping skills and started

creating his art.

“The ongoing improvements in camera technology have

made it possible to capture starlight with fantastic detail.

Much of what we do in astrophotography came directly

from Hubble. The Hubble Space Telescope 25 years ago



CLOCKWISE from top:

| Kiluea Pele and the Eel


| The Soul Among the Stars (IC 1871) Cassiopeia



| Cave Nebula SH2-155 in Cepheus

All Photos © Joel Quimpo

used the most advanced cameras of its era. Hubble uses

a series of different filters to capture and isolate superheated

ionizing gases in narrow bands of light used for

building a complete photo. Since the images are usually

monochrome this allows me to choose the palette and

shape a view of the universe through creative personal


"Astrophotography is the ultimate in long-exposure

photography. It takes many hours of exposure time using

different filters to capture a photo. Every object and

condition presents challenges related to integrating it

into the final image. For example Earth’s moon affects our

weather cycles, in turn the stability of the atmosphere

affects the quality of the photos.

“The greatest threat to my work however is light

pollution,” Joel says. “Wherever people dwell they bring

light and that light for the most part pollutes the night sky.

It’s sad to say, but most people in the 21’st century have

never seen the Milky Way, nor experienced the richness of

stars in the night sky. We are essentially disconnected from

the beauty of starlight. Astrophotography though, helps to

reconnect us with the sky and the heavens above.”



Starry Skies: Night in False Kiva | Photo © Joel Quimpo

Astrophotography … helps to reconnect us

with the sky and the heavens above. When I

spend the long hours tracking the sky with a

telescope and a camera with the computer

running the programs that guide it on a star

… then I am reminded that I am fortunate

to live in a place that is as dark as it is in the

Kaibab National Forest, and privileged to

be able to share that pristine starlight with

people of the planet.

– Joel Quimpo

96 ARTSOURCE Arizona






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