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Writer Lynette Carrington

Writer Amanda Christmann

WriterAmanda Christmann

EXPERIENCE ART IN THE BEAUTY OF SEDONA

SOMETHING NEW IN THE OLD WEST

RICK BENSON INTEGRITAS IN VINUM Photographer Scott Baxter

COMMUNITY EVENTS

THE COLORS OF TRADITION

SALMON CAKES Writer Kyndra Kelly

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PUBLISHER Shelly Spence

MANAGING EDITOR Amanda Christmann

GRAPHIC DESIGNER Meaghan Mitchell

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

PHOTOGRAPHERS Scott Baxter Bryan Black Kyndra Kelly Loralei Lazurek Brandon Tigrett

They say change is good for the soul. As we laid out this month’s edition and fine-tuned a few things—this month, making our Community listings cleaner and more user-friendly—I realized just how well it all must be with my soul thanks to the change we experience every day.

Tatum Williams 480-280-9490 tatum@imagesaz.com

We are growing, as a magazine and as a community. It seems that every month we begin new traditions to celebrate who we are, and to remember where we have been. Through the years, the North Valley has cultivated and nurtured emerging artists and musicians, unique businesses and an array of now-annual events.

Images Arizona P.O. Box 1416 Carefree, AZ. 85377 623-341-8221 imagesarizona.com

This month’s edition is packed with visionaries who are forging their way through creativity and originality. Each is part of an ongoing storyline— one older than history. From the very beginning, the possibilities hidden within the vastness of our desert soil has always attracted innovators who, thankfully, have not been afraid to realize their dreams.

ADVERTISING SALES

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

Local First A R I Z O NA

I hope you will enjoy this month’s stories as much as I do, and I’m ever grateful for the dreams that you, and the rest of our community, have supported. I feel fortunate to wake up each day and know that our Images Arizona family has the opportunity to be part of it all. Cheers! Shelly Spence Publisher, Images Arizona magazine shelly@imagesaz.com 623-341-8221

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Blue Reach - Michael Bolen

Blue Moon Sterling Silver Ring - Bonnie Sedan

Texas TwoStep - Julie Ronning Talbot

Writer Lynette Carrington // Photography by Mike Upp

Each year, the Sedona Visual Artists’ Coalition invites guests from across Arizona to visit stops on the Spring Open Studios Tour, which provides a unique opportunity for guests to visit artists in their studios. For the first time in 15 years, the tour will encompass three days of artistic insight and excitement April 27 through 29. The free event has grown by leaps and bounds since its inception, and each year more art aficionados and collectors are able to take part in the self-guided tour that includes Sedona, Cornville, Cottonwood, Camp Verde, Clarkdale and Oak Creek. The tour, presented by the Sedona Visual Artists’ Coalition (SVAC), began with a handful of artists and has now expanded to include 67 artists in 42 studios. Clay artist Mike Upp and painter Julie Ronning Talbot are board members of the SVAC. They have co-chaired the Sedona Artists Coalition Spring Open Studios Tour for the last six of its 15-year history. “For the visitor, the Open Studios experience invites the artwork to speak much more intimately to them as it provides an opportunity to gain a deeper appreciation and

understanding of the creative process,” explained Upp, who also heads up Earth and Fire Ceramic Design along with his wife, Sharon Upp. Over the course of the three-day Open Studios tour, visitors will step into the artists’ world and discover what inspires them and how they work. In addition to creating art, artists answer guests’ questions and provide a firsthand look into their creative processes. Artists included in the tour create in a variety of media including clay, glass, paint, digital art, jewelry, fiber, weaving, mixed media, photography and much more. “I really believe in the business model. It’s doing the studio tour like the winery model,” Upp said. “Years ago, you’d go to Napa Valley and wine tasting wasn’t that big of a deal. Now, it’s a big business. The wineries recognize the opportunity to sell to the public and to get direct feedback. Ours is really the same model.” Upp continued, “To me, this is so much better than packing up all of our art and taking it to Valley art festivals. On the customer side, it gives them the chance to get inside of a working studio. I believe in the aspect of helping people

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Blue Green Pitcher - Mike Upp

Bee Jewelry - David Huntsbarger

Live Edge Vessel Clay - Sharon Upp

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

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Early Snow - Barbara Donahue

Flowing - Karl Williams

Glass Torch - Pilisa Rainbow Lady

Experience Spring Sedona Open Studios Tour

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

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

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

Ask nearly anyone in America to name a famous architect,

boards, particularly those focused on social justice issues.

and chances are good that the answer will be “Frank

He was a vice president at Valspar before stepping into his

Lloyd Wright.”

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

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

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

that Wright was, and still is.

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

Stuart Graff, tapped to run the Frank Lloyd Wright

old complex Wright called home.

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

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

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

“My story begins with a school program in Chicago Public

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

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

the man charged with preserving the name and work of the

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

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

me and placed me in a gifted education program.

A business leader and a lawyer trained in intellectual

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

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

Rookery building. I found his work to be viscerally

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

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

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

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

Wright’s easily identifiable organic architecture and the

I could on Frank Lloyd Wright architecture, and it started

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

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

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

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

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

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

at his Prairie School in Wisconsin) and financial troubles,

he did things that completely changed and modernized the

Wright’s tenacious ability to weather the proverbial storm

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

is one of his most valuable and overlooked contributions.

opportunity to improve the world as well.”

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

School Taliesin,

Architecture

then

called

the

Frank Lloyd Wright School of Architecture, foundation’s financial

was

under

the

governing

control.

and

had

separate itself as an independent corporation

face

losing

accreditation from the Higher Learning

Commission

(HLC),

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

the

school’s

shift

into

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

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Graff and his staff have been busy developing an educational

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

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

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

and Math + Art/Architecture) curriculum. Graff is

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

preparing to launch a pilot program for Title 1 schools in

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

the Paradise Valley School District later this year.

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

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

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through tours and events.

Through preservation, innovation and education, we can continue sharing these important ideas.

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

two

years

into

his

mission, Graff admittedly has a lot

Kick Off Summer With

of work left to do. “The big work ahead is that we are here to make a difference. We don’t want to be just a pastime for people. Just as Wright did, we want to advance the way we build and live, and have a positive impact on the world. We won’t be satisfied

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Writer Amanda Christmann // Photography by Mark Peterman

If you’ve ever slipped on a pair of high-end European shoes and

Enough was enough, Schickling decided, and then took matters

experienced the feel of buttery soft leather gently cradling your

into her own … feet. She stepped away from her career in

heels and toes, you understand the allure of the opulence.

finance and enrolled in the acclaimed Ars Sutoria shoe design

Beyond a desire for luxury and extravagance is a far more

school in Milan, Italy, where she learned the intricate art and science of cordwaining—the old-timey word for shoemaking.

utilitarian need. For centuries, as long as designer footwear has been around, women have traded in comfort for fashion,

What may seem an audacious move was not so implausible

cramming feet into shoes too tight, too cramped, too high

for Schickling.

and too uncomfortable so that we can fit nearly impossible beauty standards.

“My dad was an inventor too,” she explained. “Unlike most girls, I spent a lot of time in our basement fixing things, taking

For years, Phoenix’s Evelyn Schickling was one of those women.

things apart and putting them back together so I could spend

She dreamed of Manolo’s but had to relegate her shoe closet

time with him.”

to less attractive, more orthopedic-friendly footwear. She spent years trying to retrofit pumps and heels with inserts and insoles,

It would only seem natural, then, that she would grow up to

only to end up with the same sore feet at the end of the day that

identify a problem and feel empowered to fix it.

women across the globe experience daily. She was led just as much by science as she was by her love Until the day she’d had enough. “What we have to put up

for fashion.

with as women, that made me mad,” she explained over lunch.

“When I gave a long standing, presentation, I was distracted

The third child in a family, her brothers were 13 and 15 years

by my shoes. Why should we have to wear ugly shoes to be

older. Schickling’s mother desperately wanted a girl. When Evelyn

comfortable? I really think that women really should be able

came along, her mother made up for years of denim and plaid by

to have comfortable shoes and pretty shoes.”

dressing her in the most feminine and fancy clothes she could find.

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“When I was two years old, she bought me a pink houndstooth Chanel suit,” Schickling said with a giggle. “She really enjoyed having a daughter.” Clearly that love for fashion and science played roles in the passion that drives her today. Both became important in Italy. After successfully completing the Ars Sutoria program, she became involved in the ASU’s Industry Partner program at the Ira A. Fulton Schools of Engineering polytechnic school, run by Dr. Karl Schultz. The students who chose her company to work with assisted her in developing a design using magnets to anchor the inserts that make her shoe line— dubbed “Evelyn Ford Luxury” in homage to her mother and grandmother—comfortable and wearable. They’re so comfortable, in fact, that ASU’s gait lab showed that their impact on the foot and their gait length, which is typically smaller for pumps and heels, is nearly identical to that of a comfy pair of sneakers. The

secret

behind

their

comfort

customizable arch. Each pair comes with three inserts, low, medium and high,

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that click into each shoe with invisible magnets, offering unrivaled support. Her line of heels, flats and bridal shoes are arguably, the most comfortable on the market. What also sets them apart is that the designs are downright adorable. Tassels, bows, metallic heels and the very finest of delectable leathers and fabrics are just a few of the reasons Evelyn Ford Luxury shoes pop. Her new spring line, on pre-sale now, is a gorgeous assortment of retro and classic styles with often-unexpected trims and accouterments. Slipping on a sample pair, it’s clear that the custom insert puts Evelyn Ford Luxury in a completely different category than my own stand-bys. I found myself strutting around the restaurant courtyard, turning it into my own private runway mindless of stares. They didn’t matter because my shoes were fabulous. Schickling smiled knowingly. When she was a little girl, she fell in love with a pair of Buster Brown shoes. “I wanted red, but my mother said I had to get black,” she said, with the disappointment of the moment still lingering in the air. “I ended up getting both,” she added with a sly grin. “I wore them everywhere!” Today she is continuing to live out that love for shoes cultivated in her childhood, and she’s working hard to make it happen. After trying unsuccessfully to find an American manufacturer capable of matching the materials and quality of Italian shoemakers, she collaborated with experts working with famous brands like Oscar de la Renta and Marchesa. At their advice, she decided to manufacture in

the

well-known

Italian

shoemaking city of Vigevano. In

another

fortuitous

opportunity, she partnered with an

operations

expert

who

management worked

with

Tahari and Tori Burch. “All of these people came to me as I needed them,” she said, still a little stunned that her goals are coming to fruition so beautifully.

Considering the challenges women face- I thought painful shoes shouldn’t be one of them. 32

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Not

yet

available

stores,

Schickling’s designs are available online. Their price point reflects the individual craftsmanship that goes into every pair, their fine quality, and their unique magnetic insole design. Her spring and bridal designs arrive in April, and by all accounts, will likely sell out quickly. “Shoes

are

such

personal

expression,” she said. “My mother always said, ‘Make sure you have a great hat and a fabulous pair of shoes, and the rest doesn’t matter.’” She’s got the fabulous shoes taken care of. Now if only she carried hats … evelynford.luxury

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Writer Amanda Christmann // Photographer Bryan Black

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The only thing better than Arizona sunshine and moonrises are the delicious foods of the Southwest. In the North Valley, it’s not only the smoky bite of anchos, the kick of serranos, or the fun in experimenting with prickly pear, saguaro seeds and other desert bounty that makes for a good meal; it’s the brilliant infusion of local ingredients with other national and international flavors to create something wonderful. In the kitchen at Cartwright’s Modern Cuisine in Cave Creek, Chef Brett Vibber is doing just that. Each plate is his canvas, and his palette is an almost absurdly delicious combination of foraged and thoughtfully purveyed ingredients like prime beef from Niman Ranch; bold greens and tasty, colorful microgreens sourced from a Phoenix urban farm; and freshly-caught ahi and albacore brought in by families of ocean friendly seafood suppliers. “If we can forage ingredients ourselves, we do it,” says Vibber. “For everything else, we have built relationships with people and suppliers who care about sustainability and providing the freshest, most high-quality ingredients.” Vibber grew up in the Valley before his formal training in Japanese and Italian cuisine led him to kitchens in Rome, Panama City, Marina del Rey and other notable cities, ultimately opening Chicago’s renowned Roka Akor. He came full-circle in returning to Cartwright’s as head chef in 2014, and took the dive into ownership of Cartwright’s last year.

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If we can forage ingredients ourselves, we do it.

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He continues to pay tribute to Cartwright’s signature Sonoran ranch house roots, only now he’s doing it with a twist. The newly renamed Cartwright’s Modern Cuisine includes many old favorites, but also an updated, decidedly international twist to the menu, including an innovative selection of ocean-inspired dishes. New on the sushi menu is the salmon roll. It is crusted with saguaro seeds, a foraging swap for traditional sesame seeds. Inside is wild-caught sockeye salmon from northern Canada and daikon sprouts from SIFarms. It is served with house-brewed soy sauce and fresh wasabi. Another starter is the wagyu beef tartare, featuring beef from Lone Mountain Wagyu in Colorado, the only purebred wagyu ranch in the United States. Paired with pickled nopales, a huckleberry and local date emulsion, and radish greens from Mountain Sky Farms 10 minutes away from the restaurant, it’s a fantastic twist for meatand-potato lovers and foodies alike. Among the new Cartwright’s entreés is Vibber’s favorite: Organic Ocean ling cod. In this creative dish, medallions of flaky, white ling cod are topped with a rich corn aioli and a surprise flavor, smoked trout roe. They’re served with delightfully smoky sweet chicos—a tribute to Puebloan Indians—and bacon-braised radishes and carrots from John Naughton of Mountain Sky Farms. It’s some of the best fish you’ll find in the desert! The on-the-menu items are often daring and delicious, though they’re tempered with old favorites like stroganoff, New York strip and salmon—each served with unrivaled, uniquely Arizonan sauces and sides. Vibber has perfected his art in such a way that, if you close your eyes and take time to enjoy each bite, it’s often possible to recognize each individual ingredient for its unique contribution. Every flavor is perfectly paired, and nothing is left to chance.

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LEAVE IT TO THE CHEF While the menu has plenty to offer, it’s what’s not on the menu that really excites Vibber—and a growing number of his guests. The Chef’s Tasting option is, in a word, incomparable. For a price that is more than worth the experience ($75,

101 Easy Street, Carefree, AZ 85377 VisitCarefree.com apri l 2018

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plus an additional $30 for wine and drink pairings), diners get to try a seemingly endless line of Vibber’s favorite creations of the day. “My goal is to tell a story with the food, and it’s always different,” says Vibber with the kind of delight on his face usually reserved for Christmas surprises. Vibber invited Images Arizona publisher Shelly Spence, account executive Tatum Williams, and me to sample some of his work. He began by taking note of any food allergies or dislikes we had among us. As it turned out, we were a relatively easy bunch to please. Despite Tatum’s landlubber palate, we were up for anything and told him so. He accepted the challenge and surpassed our expectations with gusto. Vibber brought out plates full of amazing-ness, beginning with Hamachi with jalapeño ceviche, ahi with chipotle aioli, and duck with triton radishes and pickled huckleberries. He wooed us with albacore tuna with microgreens, dehydrated saguaro seeds and Japanese aioli with prickly pear infusion.

Preparing young minds to thrive in today’s global society.

He tested us (and passed) with chorizo-stuffed quail served with sumac and steamed corn ice cream with pickled ginger, dehydrated corn and fennel pollen.

offers well-rounded and rigorous academic programs.

CAVE CREEK UNIFIED SCHOOL DISTRICT

He left us wanting more with venison tenderloin with a smoked marble potato, local Swiss chard, and bacon and brown sugar chutney. Then he wowed us with potato and herb ravioli with duck breast, served with smoked apricot and Calabrian chile relish. In all, we sampled 11 beautifully presented, creative dishes, each more delicious than the last, before he topped off our evening with his infamous deconstructed blueberry pie served with lavender, honey, and huckleberry ice cream, made fresh at The City Creamery a few doors down, then topped with dollops of mascarpone and lemon curd.

FRENCH IMMERSION at Desert Sun Academy SPANISH PRE-K-6 • STEAM

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My goal is to tell a story with the food, and itâ&#x20AC;&#x2122;s always different.

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It was a feast fit for a king, or three queens as it were, and was one of the most enjoyable culinary adventures any of us had ever had. Not only did we try dishes and combinations we may never think to order, but also we got a glimpse inside of Vibber’s ingenious mind. What’s more, we weren’t alone. Chef’s Tasting has become so popular, and for good reason, that it’s now at the top of the menu. Though there is distinctive change in the air at Cartwright’s Modern Cuisine, there is no doubt that Vibber is still giving Creekers and everyone else in the North Valley something to be proud of. It remains a destination restaurant for everything from a romantic evening out to a place for special events, and with Vibber at the helm, it will not disappoint. cartwrightsmoderncuisine.com

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

España in Arizona

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

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Sweet 16, Big Bronco Style

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

History through the Lens of Edward S. Curtis

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

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

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

Writer Amanda Christmann Photography by Scott Baxter and Joanna Proffitt

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Scott Baxter

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Scott Baxter

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

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

Scott Baxter

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

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Scott Baxter Joanna Proffitt

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

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Scott Baxter

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

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

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Writer Amanda Christmann // Portrait photograph by Scott Baxter

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Dr. Wayne Dyer once said, “Doing what you love is the cornerstone of having abundance in your life.” If that’s so, Rick Benson is living a very fortunate life. For Benson, it has little to do with any acquired wealth or prestige he has surely earned in his many years in the wine business; it’s about his love for the challenge of deciphering his clients’ passions and turning them over in his mind until a picture begins to form. It’s bringing that image to life in such a way that, when it’s completed, gives him great pride in knowing he’s created functional artwork from a shared passion for wine and beauty. Benson, owner of Wine Cellar Experts, is a true connoisseur—not just of wine, but of life. Sitting down with him and his wife Toinette at their Scottsdale design studio, it only takes a few minutes to realize the couple’s genuine warmth and appreciation for finer things. There is nothing pretentious about Benson as he cracks open a bottle of limited edition Chardonnay for the three of us to share. In fact, like the beautiful hardwoods and carefully handcrafted shelves and racks that surround him, I get the distinct feeling that Benson has an almost reverence for wine, acknowledging and honoring the nature and process behind it with every sip. It’s no surprise then that the process of conceiving and building wine cellars is just as rewarding to Benson as seeing the joy on people’s faces when he reveals the finished product. As he talks about his work, he seems to find great satisfaction in choosing each individual piece of wood, from alder and maple to African-grown Sapele, then shaping and finishing each board to become part of a design, big or small, that stands out in singularity and in practicality.

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... there are people who are pioneers, who take pride in being original and in being the very best at what they do. It takes a lot of work to get there, but when you do, it’s worth it.

A native of the Pacific Northwest, Benson honed his design intuitiveness at a young age. “I was fortunate that, as a young boy, I had a little space where I could build things. If I focused on something I wanted to create, I could create it in my mind then make it with my hands—then boom! It was out there in the universe. That was very satisfying to me.” As a teen, he went into construction, then into building yachts, where he discovered the awe that comes with coaxing the natural beauty from a piece of wood through hours of patience and hard work. That love has never faded. “It’s my passion,” Benson says. “I love to create. I love the challenge of, when you meet someone, having an hour or so to find out what’s in their mind, including the space they have, the style of their home and the size of their wine collection, then coming up with an equation that naturally and enthusiastically fits what they came to Wine Cellar Experts for.” It was Toinette who introduced him to the wine business. Her family owns and operates a Napa Valley winery, purchased by her aunt and uncle in 1969. Benson saw firsthand the work involved in enticing grapes to grow from the land while nature wields its whims. He also learned the careful balancing act between sugars, acidity, apri l 2018

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alcohol and tannins that must be perfected in order to deliver a quality product.

It’s kind of like music. It’s irreplaceable.

Like the craftsmanship of woodworking, Benson loved the craftsmanship behind creating wine. He was hooked, and even became a sommelier. Like everything else he does, Benson takes the time to make sure the residential and commercial projects he completes are functional as well as stunning, and he does it with an honesty and integrity that is rare in business. “One of the things I battle most is that craftsmen—true craftsmen—are a dying breed. There are people who will build things the cheapest way possible, cutting corners here and there, but I’m not interested in doing that. Then there

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are people who are pioneers, who take pride in being original and in being the very best at what they do. It takes a lot of work to get there, but when you do, it’s worth it.” Benson is a pioneer, not only in his unique take on wine cellars, but also on wine storage. This year, he introduced Vinotel, a custodial wine storage option for those whose collections have outgrown their storage capability, or who love wine but don’t have time, space or knowledge to properly care for it.

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“Vinotel is the other side of the coin for us,” Benson says. “Not everyone wants a wine cellar in their house. A lot of millenials, for example, want to be part of the wine scene. They want to collect it and enjoy it, but it works out best for them, for a number of reasons, to professionally store it off-site.” Vinotel allows people to collect wine from anywhere in the world and have it shipped to their cite. A smartphone app allows them to order it to be delivered any time they want to enjoy it. It’s hassle-free and innovative, and may just be the beginning of a convenient trend in owning wine. “We bring a completely different perspective to the market when it comes to wine,” says Benson. “It’s inspired by and centered completely around our passion for wine and our clients’ passion for wine.” For the Bensons and their Wine Cellars Experts clients, it’s all about creating experiences. “When you think about it, wine cellars and walls provide us with a beautiful spontaneity,” Benson says. “When we’re in the middle of entertaining, it’s almost a euphoric experience because we can share stories of where we found certain bottles, or what we were doing when we discovered others. It’s all happening right in front of you, and it allows you to share a part of who you are.” He holds his glass for a moment in consideration of his next words. “Ultimately, having our own wine collection provides us with some of our most intimate experiences. It’s kind of like music. It’s irreplaceable.” 480-922-9463 winecellarexperts.com

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Writer Shannon Severson Photography by Scott Baxter

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In the garage-turned-workshop off his 1920s Phoenix cottage, furniture designer Kevin Irvin makes the utilitarian beautiful, one cut at a time. Irvin’s hand-hewn cabinets, tables, benches, consoles and storage boxes are simple shapes with eyecatching design elements that elevate them from pure functionality to works of art. Irvin is truly the “artist next door,” and appropriately so. Growing up in tiny Fort Branch, Indiana—population

2,500—he

didn’t know anyone who called themselves an artist, but he certainly knew many people who could make things with their hands. “I always loved to draw, and I have a particular interest in mechanical drawing,” says Irvin, “but the closest thing to art that I was exposed to were billboards. I would have liked to take art classes in high school, but in those days, the message was that business was my path.” At the University of Southern Indiana, an art degree wasn’t offered, but he did sign up for an introductory art class. That first day, he thought he’d accidentally wandered into a wood shop class. As it turns out, that Design and Materials class was about to change his perspective and his life path. The professor, John McNaughton, showed slides of his work—fantastical furniture that was more sculptural than utilitarian.

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“I couldn’t believe what I saw,” says Irvin. “I’d never

topic of conversation. When Strini suggested Arizona

seen furniture that way. I was entranced by the sculptural

State University’s program under renowned sculptor Tom

nature of it. John made me see the possibilities. My first

Eckert, Irvin applied and was offered waived out-of-state

piece was a coffee table — which actually ended up being

tuition and a teaching assistant job. It seemed like the

published — but I didn’t make another piece of furniture

right move. He set out in 1982 to spend “just three years”

for the next 15 years.”

earning his MFA in the desert.

McNaughton became Irvin’s mentor and remains a good

“I’d never been west of the Mississippi,” says Irvin. “I

friend today. As Irvin learned to design and draw, he found

never intended to stay, but at the end of those three years,

inspiration from greats like George Nakashima, a father

I had my thesis exhibition, I’d been winning shows, and I

of the American craft movement, but, closer to home, USI

was asked what my next step was. Moving to Los Angeles

welcomed graduate students from around the country

or New York City seemed the logical next step, but the

who influenced him greatly.

expense of such a thing was daunting.”

“It was an incredible experience,” says Irvin. “I was lucky

When a local friend offered the use of his garage as a studio,

to find that in such a small school setting because it was

Irvin decided he could take out a loan and get started much

like a graduate situation. These older men and women had

more effectively if he stayed in Phoenix. With a $10,000 to

their own fortés. Their input and critiques were invaluable.

purchase tools, Irvin had his first show within six months.

I happened to be there at a very good time.”

Once again, he was perfectly situated for success.

When sculptor Robert Strini, who Irvin greatly admired,

“Scottsdale, at the time, was one of the three or four cities

served as a guest professor, graduate school became a

where having a show really got you noticed,” says Irvin.

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â&#x20AC;&#x153;Elaine Horwitch attended one of my shows and signed me to her gallery, which was a major presence at the time.â&#x20AC;? After years of creating exclusively sculptural work, his first functional piece was exhibited at the Horwitch/Neuman Gallery in 1995. Irwin and his wife, Erin, adopted their daughter Sadie, now 8 years old. When the economy rendered big changes in the art world, Irvin, true to his artistâ&#x20AC;&#x2122;s soul and practical Midwestern roots, decided it was time to start a new chapter. He began designing and building functional, design-oriented production pieces that were unique to him and could be offered at a reasonable price point. His work is streamlined, but the texture and detail make his work stand out as something artful, artisanal and, quite literally, not run-of-the-mill. First came the Maze Box, a multipurpose storage cabinet faced with a handcarved, maze design in various colors from red koto, walnut and maple that lend themselves to a variety of arrangements. The same design is now used to top side tables (his Tux Table is among his best sellers), coffee tables, benches and consoles. The box caught the attention of the curators at Artful Home catalog in 2009.

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“I was a bit apprehensive about selling online,” says Irvin. “I was used to galleries where buyers could see the pieces in person. Who would make a purchase from what, at the time, was a small thumbnail photo on their computer screen?” As it turns out, there was plenty of interest. Within the first five minutes, he received a $5,000 order. “The Artful Home folks told me, ‘This never

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happens,’” says Irvin. “I’ve had steady orders ever since. I don’t keep stock. Everything I build, I sell. It’s been a great relationship and I ship pieces all over the country.” Museums

and

private

and

corporate

collectors, including the Scottsdale Museum of Contemporary Art, The Evansville Museum of Art, McDonald’s Corporation and Neutrogena

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have included his pieces in their collections. Irvin’s favorite aspect is the design process, which harkens back to his affinity for mechanical drawing and Euclidian geometry. He usually begins with a three-dimensional cardboard rendering, then moves and rearranges segments to get just the right marriage of form, function and production-friendly construction. The Maze Box concept paved the way for a wide selection of variations on the theme. The Botanical Box is similarly constructed, but Irvin cuts and applies 140-160 individual wood veneer shapes that give the effect of wind-swept leaves blowing across the fronts of the cabinet. The Studio Box allows buyers to bring a bit of Irvin’s creative process into their own spaces. The door fronts are repurposed sections of Irvin’s workbench, which he replaces once or

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twice per year. The bench is cut into equal squares, its randomly marred and stained pieces arranged to obtain the best effect. Also

among

his

creations

are

decorative items, custom pieces, and even delicate Christmas ornaments. Irvin says he still has sculptural work in him, but for now, fatherhood and furniture production keep him busy. It’s rewarding to see the response to his pieces. Gone are the doubts about living in the desert he had in his college years. Life in Arizona agrees with him and he takes full advantage of the weather. “I love outdoor living and being able to work outside nine months out

the

year,” says

Irvin.

“Eventually, I’d like to build a showroom on my property so that buyers can see pieces in person. I’d love to create a full line of furniture with a design focus, and I have ideas that I’m solidifying toward that goal. Whenever there’s a lull in production, I get creative.” kevinirvin.com artfulhome.com

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

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Writer Amanda Christmann // Photography by Loralei Lazurak

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

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

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

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

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

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“We meshed really well,” Norris says. “He was able to teach me his philosophy, how he thought about things.” It was the seeds Wdowiak planted in Norris’s mind that eventually blossomed into his own style. Upon Wdowiak’s retirement, his torch was passed to Desert Foothills Landscape’s new owner, Aaron Clark. Norris stayed on as lead designer and vice president of sales, and together their dreams have only broadened. “We want to share our approach with more communities,” Norris explains. “As people are evolving and styles are changing, people are becoming more interested in high visual impact landscaping.”

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Aside from his business acumen, his ability to use his creative process to help people love their homes and their outdoor spaces is his true passion. “Being able to build something from scratch that changes something significant about a home changes the quality of people’s lives. They want to spend more time outdoors. They love coming home, driving up their driveway to this oasis we’ve created. It’s something special.” In fact, it is something special. It’s just like nature—only better. dflaz.com

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Writer Amanda Christmann Photography by Scott Baxter

Life in Full Color

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Frank Ybarra’s smile is like a cozy flannel shirt: comfortable and unpretentious, he’s one of those people who feels familiar, like an old trusted friend.

It’s clear from the outset that this is not just a place where Ybarra goes; it’s an intimate extension of himself, much like the artwork he creates.

Sitting in his bright and cheery Phoenix garage-turned-studio, he’s surrounded by colorful canvases and shelves of vinyl LPs. U2 is playing through the speakers, and an open back door is welcoming a warm, gentle breeze through the space.

Ybarra is unique in that he takes “local art” to a new level. His portfolio is an autobiography of sorts—snapshots of what life was like growing up in a downtown Phoenix Hispanic neighborhood near Washington and 32nd Streets.

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He combines the folksy feel of Frida Kahlo with Diego Rivera’s cubism, then mixes it with a big dose of nostalgia to create the bright, bold, lively images he has become known for. Memories of his family—padres, tías and tíos, and abuelos—often appear in his paintings, as do local landmarks like Pete’s Fish and Chips and Bill Johnson’s Big Apple. Many of his favorites also depict the MexicanCatholic iconography that was and still is a major part of his life. They also document life in neighborhoods that, in large part, have been demolished in the name of development. What stands out most is their beautiful nod to a colorful, uniquely MexicanAmerican culture. Touches like pan dulce on a table in one painting, to a santo in a front yard of another, to the ever-present extended family in so much of his work, provide a beauty-filled view of what it means to be Latino—particularly Mexican—in the American Southwest. It’s no surprise coming from the happily married father of two, who clearly values his family. “Growing up in Phoenix, my dad worked for Reynolds Aluminum,” he said. “He worked all his life doing that. My mom was a stay-at-home mom who took care of six kids. My mom’s dad and mom were the only grandparents I knew. They were from Mexico.

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“It’s not like we had a lot. My parents couldn’t buy me everything I needed, although they always supported me. That’s why I did a lot of drawing.” When he was very young, Ybarra anxiously awaited his mother’s trips to the grocery store—not because of the food she brought home, but because, once unpacked, he carefully deconstructed the paper grocery bags to use as makeshift canvases for his drawings. While a student at David Crocket Elementary School, Ybarra had the good fortune of spending time in the art classroom of Joanne Rapp, who would later open Hand and the Spirit gallery in Old Town Scottsdale. Ybarra credits Rapp with opening the door for his own art journey. She cultivated in him a love and appreciation for art, and planted the seeds of confidence he would need to turn it into a career. Though he loved fine art, he went on to study something more “practical”— graphic design—at Arizona State University, where he met his wife. “She had already graduated, and I was kind of on a 10-year plan,” he says with a chuckle. “Her roommate and my roommate dated each other, so that’s how we met.” For years, he worked at Samaritan Health System as an illustrator, completing freelance projects on his time off. Eventually he was able to create his own paintings full-time, launching himself into the local art scene with aplomb. In 2005, he was tapped for the Phoenix Home & Garden magazine’s Emerging Artist award, but his celebration was cut short by his

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diagnosis with stage 3 colon cancer. The devastating news curtailed his motivation, but not for long. He relaunched his art career in 2009. Now a two-time cancer survivor, he has transitioned personally and artistically. He spends time mentoring young artists, and he has developed an almost Zen-like calmness that envelops him like a comfy quilt. His re-emergence into the art scene has been, by all accounts, successful. In 2012, some of his work was showcased in concert with the Arizona Centennial Commemoration. In 2015, he was featured artist at Free Arts of Arizona's Art Auction, and the following year he was again commended by Phoenix Home and Garden, and was a nominee for the Governor’s Arts Award. Today, his work can be found in living rooms and collections across America, and also at Casa de Artistas Scottsdale. Recently his paintings were also added to an installation at Sky Harbor

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Airport’s Terminal 3 titled “Stories from a Local Community.” It’s not easy to pin Ybarra’s style down in a few words. Like a mirror of his own life, his paintings have evolved over time, and he continues to experiment with ideas and themes like neo-cubism, pop art and mural art. For every work that seems classic Ybarra-like, there is another in which he stepped outside of his artistic box and created something entirely different—injecting humor, travel mementos, and even social justice into the back story. The important thing to Ybarra is that he continues to create. “If you’re really passionate, don’t give up,” he says, leaning forward in his chair. “I just keep painting. I don’t really want to stop.” ybarraart.com

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Writer Shannon Severson Photography by Scott Baxter

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

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

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

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Life isnâ&#x20AC;&#x2122;t about things; itâ&#x20AC;&#x2122;s about people. 92

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HEATING • COOLING INDOOR AIR QUALITY For two years and four months, Bond completely restored the press. Its scale, speed and ease of use were a complete departure from the larger-scale projects that required rollers to be hand-inked. Going from 10 prints an hour to 80 completely changed the way he worked and how he would reconcile his dual careers as a printer and an artist. “It changed by idea about art in general,” says Bond, “but it also shifted how I see my role from a more broad perspective. I’m still an artist who dreams of being in the big time, but there’s something both humbling and liberating about acknowledging and accepting what rung you’re on in the hierarchy of artists.

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“I’m very highly regarded for what I do as a master printer and publisher; I’ve had over 200 shows in three different countries, my work is in multiple museums … Ultimately, I’ve been able to live off of being an artist.” Many of the artists he works with, whether they are painters, photographers or sculptors, have never made prints. Bond takes their vision and helps them see it through the eyes of his medium, finding their voice and how it will speak through print. His job as a print publisher is to get “mileage out of the matrix.” Once a linoleum block, called a linocut, is carved so that multiple colors can be printed, it can never again be used for another print. Once the original concept has been produced, Bond plays with pattern and color possibilities. Sometimes he can get as many as three variations by adding or removing colors. Artists such as James Angel, Janet Towbin and Roy Wasson Valle are among those who like his ideas so much that they produce pieces as collaborations co-signed by Bond. “Printmaking is an ongoing problem-solving adventure,” says Bond. “I’ve developed special connections and friendships with incredible artists. I’m lucky enough that my own art is included in two local invitationals each year: The Chaos Theory Show and 5-15 Invitational. I only show locally. I do whatever it takes to remain an artist and be self-employed, and I’ve met so many remarkable people because of it.” Bond’s art can next be seen in the Docents Select exhibition at Mesa Contemporary Arts Museum January 20 through April 8. santopress.com

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

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

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Writer and Photographer Kyndra Kelly

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

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

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