Digital Trend 2021 Revised

Display on newsstands through October 31, 2021 | Current through 2022 U.S. $9.95 Can. $9.95

WO O DS

CONSIS T E N T LY T H E BE S T Designing and building the finest homes in Santa Fe for over 42 years WO O DS D E S I G N B U I LD E R S 302 Catron Street, Santa Fe, New Mexico 87501

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505.988.2413

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woodsbuilders.com

photography : © Wendy McEahern | Architectural Design and Construction : Woods Design Builders

DE SIGN | BU I L DER S

Dan Namingha, Pueblo Eagle Dancer

Fritz Scholder, Portrait #52

Paul Shapiro, Spring Thaw

Representing the most celebrated artists of Santa Fe’s present, past & future 217 GALISTEO ST, SANTA FE, NM | 505.820.1234

MICHAEL VIOLANTE & PAUL ROCHFORD 401 Paseo de Peralta, Santa Fe, NM 87501 505.983.3912 | vrinteriors.com

convenient parking at rear of showroom

photo © Wendy McEahern

Art in Northern New Mexico

Tom Dixon Splash, 2020, 60 x 40 inches, oil on canvas Represented by 203fineart.com

Ira Wright

Portrait at Eighty-Five and Three Quarters, 2019, 13.5 x 16.25 inches, acrylic on canvas @theartofirawright / irawrightart.com

Desiree Manville

Hay Bales, 2019, 2 1/2 x 3 1/2 inches, silver gelatin print Represented by 5pointgallery.com / manvillephotography.com

Sasha Raphael vom Dorp

200.06 Hz Sunlight 2014-11-07 10:39:21.065 36º24’22”N 105º34’31”W, Photograph of sunlight encountering sound as observed through the medium of water. Archival pigment print mounted on aluminum. 58x40ed., #1 of 3 @sashavomdorp / sashavomdorp.com

Carla Fernandez is a fashion house based in Mexico City dedicated to preserving and revitalizing the textile legacy of indigenous and Mestizo communities.

Webster Collection is pleased to present Carla Fernandez as a featured designer in our new apparel gallery.

Photos by Ricardo Ramos

54 1/2 LINCOLN AVENUE THE PLAZA | SANTA FE

WEBSTERCOLLECTION.COM 505-954-9500

WEBSTER COLLECTION

WEBSTER COLLECTION

Charles Gurd, Homage Matisse #1, 2021, 54” x 96”

Also showing works by Robert Rauschenberg, Adam Feibelman, Zoë Urness, Patrick McFarlin, Stan Berning, Josedgardo Granados, Robert Stivers, George Nobechi, Danae Falliers, Elliott McDowell, as well as historic and prehistoric objects from the Americas, and historic photographs of Frida Kahlo.

54 1/2 LINCOLN AVENUE THE PLAZA | SANTA FE

WEBSTERCOLLECTION.COM 505-954-9500

WEBSTER ESTATES R E P R E S E N T I N G A N D S E L L I N G S A N TA F E ’ S M OST RE N OWNE D P R O P E RT I E S S I N C E 1 9 7 6

Palacio de Marquesa, Taos, NM Beautifully Remodeled and Appointed 1920s Adobe 8-BR Inn, 2 Lots Providing Additional Development Opportunity 3 Blocks to Taos Plaza, $3,250,000 The Estancias at Las Campanas Hunter Custom Homes, available EOY 2022 $3,175,000

CHRIS AND PATTI WEBSTER CHRISTOPHER WEBSTER III

1240 Camino de Cruz Blanca $4,395,000

THE PLAZA | 54 1/2 LINCOLN AVENUE | SANTA FE CHRISWEBSTERSIR.COM | 505-780-9500

Rockin’ A Ranch Tano Road, Santa Fe Northside Two Ranch-Style 3-BR Homes on 10 Acres (4 Lots), 3-Stall Barn, Two Wells, Panoramic Views of the Sangre de Cristo and Jemez Mountains, $4,100,000

© 2021 Sotheby’s International Realty, 505-988-2533. All Rights Reserved.

The Sotheby’s International Realty trademark is licensed and used with permission. Each Sotheby’s International Realty office is independently owned and operated, except those operated by Sotheby’s International Realty, Inc. The Sotheby’s International Realty network fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. All offerings are subject to errors, omissions, changes including price or withdrawal without notice.

CHRIS AND PATTI WEBSTER CHRISTOPHER WEBSTER III

THE PLAZA | 54 1/2 LINCOLN AVENUE | SANTA FE CHRISWEBSTERSIR.COM | 505-780-9500

PHOTO: © WENDY MCEAHERN FOR PARASOL PRODUCTIONS

130-A Lincoln Avenue 505.988.2393 therugmanofsantafe.com

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BACKGROUND: ROBERT RECK PHOTOGRAPHY; INSET: PETER VITALE

“The Flames of Passion” • 75" x 54" • Acrylic

BETTE RIDGEWAY Two-Person Show with Mark Yale Harris • Exhibition opens Friday, September 3, 2021 Live Zoom Interview 5 pm • Thursday, September 2, 2021

VENTANA FINE ART 400 Canyon Road

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Santa Fe, NM 87501

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505-983-8815

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800-746-8815

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www.ventanafineart.com

Rose Masterpol, Self Portrait, 48 x 36 inches

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2 0 T H

N ÜA R T G A L L E R Y ® 505.988.3888

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670 canyon road I santa fe I new mexico I 87501

fineart@nuartgallery.com

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etHelinda

Ricochet

52x58 oil on canvas 123 West Palace avenue 505.986.0440 info@manitougalleRies.com

225 canyon Road 505.986.9833 WWW.manitougalleRies.com

etHelinda

Sable Horse

52x60 oil on canvas

etHelinda

Icicle

48x60 oil on canvas 123 West Palace avenue 505.986.0440 info@manitougalleRies.com

225 canyon Road 505.986.9833 WWW.manitougalleRies.com

S A N TA F E S O P H I S T I C AT I O N

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2 3 1 Wa s h i n g t o n Av e n u e

505.984.1788

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DAVID ROTHERMEL

Dazziler, 74" x 76", acrylic on panel

202 Canyon Road Santa Fe NM 87501 • 575-642-4981 davidrothermel@aol.com • drcontemporary.com

Commisioner, 30" x 89", acrylic on panel

Solidarity, 30" x 64", acrylic on panel ABOUT THE ARTIST: David Rothermel’s artistic career spans more than four decades. He first studied at the York Academy of Arts and later graduated from the Pennsylvania Academy of Fine Arts in Philadelphia where he studied with Will Barnet.

He went on to study for two summers in Maine at the Skowhegan School of Painting & Sculpture. In one of those summers he was an assistant in the fresco department, working under W.P.A muralist Ann Poor.

Rothermel spent the following summer painting under Brice Marden. Other influences at Skowhegan were William T. Williams, Sylvia Stone and Lucas Samaras.

SELECTED COLLECTIONS: General Motors Corporation National 3M Corporation Revlon Pennsylvania Academy of Fine Art Union Pacific Iowa Beef Corporation Farnsworth Museum Butler Institute of American Art Via del Palmar, Cabo B.C.S. Twin Dolphin Hotel, Cabo B.C.S. New Mexico Museum

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Faust Gallery

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505-992-8382 dmaahsconstruction.com Showroom by Appointment 1570 Pacheco St. Suite C-1

TRANSFORMING THE HOME Fine Cabinetry • Renovations

SOMERS RANDOLPH stone sculptor

Email to book studio tours: tours@somersrandolph.com | somersrandolph.com

662 CANYON ROAD 505.986.9115 | JOHNRIPPEL.COM

JOHN RIPPEL

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con t e n t s From the Publisher 36

Team Trend 37

Contributors 38

44 patterns of connection The Thoma Foundation makes their vast collection of digital and multimedia art available to the public free of charge 60 collaborative vision Kate Russell captures the interwoven efforts behind renovating a once-stereotypical ’90s home, a haven of contemporary art and design 74 advanced survival Dominique Vorillon translates a day in the life of a monumental work-in-progress into meditations on persistence, patience, and an abiding love of the land

88 eureka! Four artists, four visions, four passions, showcased in their studios by Audrey Derrell

116 reflections Bill Curry applies a world traveler’s curiosity and fashion model’s sensitivity to his portraits of notable New Mexicans 128 taking flight Former weaving arts conservator and dealer Nedret Gürler turns her curator’s eye to the wonders of nature 156 functional design for a new era Peter Ogilvie reflects architect Alex Dzurec’s vision to reinterpret the built environment to meet the demands of a changing world 180 all aboard Robert Reck documents a reinvigorated Santa Fe dining scene

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TREND art + design + culture 2021

CLOCKWISE FROM TOP LEFT: KATE RUSSELL, AUDREY DERRELL, ROBERT RECK, DOMINIQUE VORILLON

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jewelry of ANN ZIFF’S TAMSEN Z.

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+1 505.986.3432

IMAGE: SUSAN GRAHAM. HAIR & MAKE UP DAVID ZIMMERMAN, SFO PHOTO: PETER OGILVIE. JEWELRY: TAMSEN Z BY ANN ZIFF. SALT AND PEPPER DIAMOND, SLICE NECKLACE, SILVER DIAMOND TRIPLE DROP EARRINGS, QUARTZ WITH PYRITE AND DIAMOND RING AND PYRITE & CRYSTAL RING.

2021 Presenting STARRY NIGHT featuring the coveted

FROM THE PUBLISHER

enduring culture

A

year has passed since our last summer issue came controversial obelisk, occasioning a long-delayed conversaout online, and by September 2020 we were able tion about historical accuracy versus myth, and how to honor to print one of our best issues ever. Trend now our overlapping cultures while allowing them to tell their publishes as an annual—and what a year it has own distinct stories. been. It is our fervent hope that by the time this new issue Trend has long been committed to seeking out and sharing reaches you we will have taken the needed strides toward these stories as we celebrate the intertwining artistic tradiregaining our health and our economic footing, along with tions that make New Mexico unique. In the current issue our physical and spiritual equilibrium. we offer a broad array of photo essays that highlight the But the road back may continue to force us into unexwork of outstanding photographers who use their artistry pected detours for some time to come. So how do we cope to capture the essence of New Mexico’s talented population. with so many life-altering events and circumstances without Taos-based Bill Curry’s revealing portraits of local residents becoming discouraged? Most of us turn to the stabilizing (“Reflections,” page 116) explore the diversity and depth of force that is our culture: those collective beliefs, values, and Northern New Mexico’s broad cultural origins and influencgoals that give us the strength to face the unknown. Here es, while Peter Ogilvie shows us his keen eye for architecturin New Mexico, that unifying culture is more inclusive but al detail as he presents the stark beauty of a home built to also more complex than in most places—it’s an amalgam of integrate itself into the landscape (“Functional Design for a Native, Spanish, and Anglo values that, while touted by the New Era,” page 156). Audrey Derrell’s stunning portrayals of tourism folks as an appealing example of tricultural harmofour local artists and their work (“Eureka!,” page 88) examine ny, has always been a bit more fractious than that. At one the beauty and challenges of the artistic life. Kate Russell level we see how people who once waged war on one another of Santa Fe turned her photographic talents to architecture have managed to establish a fragile but (“Collaborative Vision,” page 60) to celeproductive collaboration, each drawing brate the results of an artistic cooperation from the other culture to create a collecthat resulted in an elegant, livable home tive ethos and aesthetic that nourishes our that showcases the owner’s vision. hearts and souls.

With these stories and many others, But social divisions and historical Trend seeks to continue to expand the resentments have always played a role in conversation that has emerged from the the ongoing struggle to achieve spiritual challenges of our times, forging new ties and cultural stability, and during this past and revisiting old ways of thinking that year we’ve seen this phenomenon play out need to be adjusted to our current realin events close to home. Issues that have ity. Viewing our situation through the festered quietly for many years have been unflinching eye of our creative communishifted to the forefront, demanding that ty provides us with a mirror that reflects unhealed wounds and misrepresentations the joy and pain implicit in the human from the past be addressed forthrightly condition. In the end, we all seek to find and with a new spirit of understanding truth and beauty in the world around us, About the cover: Sculpture by Somers Randolph (2021), Italian black marble and reconciliation. At home on the Santa and our enduring culture and artistic traFe Plaza, for example, we’ve seen passiondition will help us on our way. ate actions and reactions regarding the —Cynthia Canyon, Publisher COVER PHOTO BY PETER OGILVIE

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TREND art + design + culture 2021

TEAM TREND

Trend magazine was born and raised in New Mexico. In print for over two decades, it’s a product of synchronicity, conceived by publisher Cynthia Canyon and raised by the profound arts and culture in this diverse state. Trend belongs to you, our reader, as much as it is a labor of love for our team. ​At our helm is publisher Cynthia Canyon, an L.A. transplant who fell in love with New Mexico many years ago and has made it her home. She is the spark of energy that pushes us to excellence. At her side for decades has been art director Janine Lehmann.

A native New Yorker who studied fine art photography and designed books for years, Lehmann’s artistry has brought Trend to vivid life since the magazine’s inception. Contributing to graphic design and managing our production with grace is Jeanne Lambert, while Rena Distasio, Nancy Zimmerman, and Christina Procter have helped lead Trend’s editorial vision for years now.

Trend is available at a number of businesses, galleries, hotels, and other outlets throughout Santa Fe, Albuquerque, and Taos. If you are in the U.S., you can also subscribe to have the print issue mailed directly to you, or check it out online at trendmagazineglobal.com. Advertisers can learn more about being featured in our annual issue, out each July, on the website as well. ​As you enjoy this issue, we hope you will also share what we believe is one of the best magazines on art, design, and culture with your friends and family. R trendmagazineglobal.com

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Top, left to right: Peter Ogilvie, Gussie Fauntleroy, Bill Curry Middle, left to right: Nedret Gürler, Robert Reck, Dominique Vorillon Bottom, left to right: Audrey Derrell, Kate Russell, Anya Sebastian

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TREND art + design + culture 2021

TOP, LEFT TO RIGHT: PETER OGILVIE, GUSSIE FAUNTLEROY, BILL CURRY; MIDDLE, LEFT TO RIGHT: NEDRET GÜRLER, ROBERT RECK, DOMINIQUE VORILLON; BOTTOM, LEFT TO RIGHT: AUDREY DERRELL, KATE RUSSELL, ANYA SEBASTIAN

CONTRIBUTORS

Raised in southern California, Peter Ogilvie studied art and architecture at University of California at Berkeley. After graduation he moved to Cambridge, Massachusetts, where he turned to documentary films as his means of expression. Filmmaking led to still photography, both fine art and commercial.

Pursuing his career in advertising, fashion, and fine art photography, he has lived in San Francisco, Milan, Paris, New York, and now New Mexico. He has traveled the world on assignments and has won numerous advertising and graphic awards for his work. The journey continues. His passion endures. He still loves creating and looking at images.

Having written about art, design, and architecture for more than 30 years, Gussie Fauntleroy has concluded that her favorite design element is surprise. Howard Mintz’s Northern New Mexico mountaintop homein-progress, which Fauntleroy profiles in this issue, is one of those jaw-dropping, smile-inducing structures, with unexpected features in every square foot. Getting to know the home’s unconventional owner/designer and main idea man was an equal delight. The southern Colorado-based writer contributes regularly to national and regional magazines and is the author of four books on visual artists.

Bill Curry’s passion for world exploration and travel while working in front of the camera for 25 years led him to a second career as a photographer specializing in fashion magazine editorial assignments and resort, spa, and travel photography. This in turn led to his deep connection to New Mexico and its people and cultures. Living and working in the Land of Enchantment’s magnificent light and wild open spaces inspire and keep him close to the mountain that is sacred to the people of Taos Pueblo.

Turkish-born Nedret Gürler recently set out to change her life after being a curator of weaving arts for 32 years. She focused her new journey through the lens of her camera.

She has a background in fine arts, art history, antique rugs, and textiles. As she sets her business around her camera, she lives in Santa Fe with her son, Hakan, and her husband, Frank Hatch.

Robert Reck’s photography is distinguished by a masterful use of light, strong composition, and a passion for design. Reck was a staff

photographer for Architectural Digest and has contributed to dozens of publications globally. He was the lead photographer for Santa Fe Style, published by Rizzoli International.

He photographed Facing Southwest, which received a Santa Fe Preservation Award.

Dominique Vorillon is an internationally known photographer of interiors, gardens, and architecture who is based in Los Angeles and Santa Fe. Over the last 30 years, he has worked for many prestigious design publications, and this shoot for Trend was the first time he faced the challenge of photographing a house in progress. He is currently finishing a book on Santa Fe interiors and places that is scheduled to come out at the end of 2021.

SCULPTURE . PAINTING . PRINTS

Audrey Derell’s lifelong journey in the arts began as a child in Finland. She lived and studied performing and visual arts in the Philippines, Belgium, France, Spain, and finally New Mexico. After a 20-year career in dance arts, Audrey transitioned into photography. Twelve years ago a pollen-laden bee in the heart of a desert bloom captivated her mind and heart. Derell specializes in macro-botanical studies and dance imagery, and she enjoys meeting the fascinating artists whose portraits and oeuvre she captures for Trend magazine.

Kate Russell is a photographer based in Santa Fe, New Mexico. She strives to show her subjects with simplicity, respect, and curiosity while simultaneously always working to elevate the unexpected. The subjects she has covered include action, architecture, art, circus, fashion, food, friends, life, and travel. Her work has been featured in Art Forum, High Fructose Magazine, New Mexico Magazine, Rolling Stone Magazine, The New York Times, The Wall Street Journal, and many others.

Anya Sebastian started out as a BBC reporter in London before becoming a freelance writer. British by birth, she has contributed to online and print publications on both sides of the Atlantic, including Vanity Fair, the Sunday Times, Broadway World, Edible Santa Fe, and New Mexico Magazine. Based in Santa Fe, she is also a published author, a voice-over artist, an award-winning radio show host, and a keen art collector. She is currently working on her first piece of fiction. R trendmagazineglobal.com

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DESIGN . BUILD . INTERIORS www.sethandersonstudio.com 7514 Mallard Way, #3, Santa Fe, NM 87507 505.467.8738 Homes represented by

DOUGHERTY REAL ESTATE CO, LLC 505.989.7741 www.dresf.com

PUBLISHER Cynthia Marie Canyon DESIGNER Janine Lehmann COPY CHIEF Rena Distasio CONTRIBUTING EDITOR Christina Procter PRODUCTION MANAGER & ASSOCIATE DESIGNER Jeanne Lambert CREATIVE CONSULTANT & MARKETING DIRECTOR Cyndy Tanner PHOTO PRODUCTION Boncratious CONTRIBUTING WRITERS Rena Distasio, Gussie Fauntleroy, Christina Procter, Anya Sebastian, Cyndy Tanner, Nancy Zimmerman CONTRIBUTING PHOTOGRAPHERS Bill Curry, Audrey Derell, Nedret Gürler, Peter Ogilvie, Robert Reck, Kate Russell, Dominique Vorillon REGIONAL SALES DIRECTOR Mara Leader, 505-470-6442 ACCOUNT REPRESENTATIVE Anya Sebastian, 505-470-6442 NORTH AMERICAN DISTRIBUTION Disticor Magazine Distribution Services, disticor.com NEW MEXICO DISTRIBUTION Ezra Leyba, 505-690-7791 ACCOUNTING AND SUBSCRIPTIONS Patricia Moore SOCIAL MEDIA MARKETING Loka Creative, lokacreative.com PRINTING Journal Graphics Portland, Oregon, United States Manufactured in the United States Copyright 2021 by Santa Fe Trend LLC All rights reserved. No part of Trend may be reproduced in any form without prior written consent from the publisher. For reprint information, please call 505-470-6442 or email santafetrend@gmail.com.

Trend art+design+culture ISSN 2161-4229 is published online throughout the year and in print annually (20,000 copies), distributed throughout New Mexico and the nation. To subscribe, visit trendmagazineglobal.com/subscribe-renew. Sign up for a free, 60-day trial, and then pay $1 a year for continued digital access and/or $17.99 for a print copy including priority shipping. Find us on Facebook at Trend art+design +culture magazine and Instagram @santafetrend We’re seeking new and diverse voices! If you’re a writer or photographer interested in contributing, please visit trendmagazineglobal.com/contribute and send your story pitches to santafetrend@gmail.com.

Trend, P.O. Box 1951, Santa Fe, NM 87504-1951 505-470-6442, trendmagazineglobal.com

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

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TREND art + design + culture 2021

Patterns of Connection

BY CHRISTINA PROCTER

44 TREND art + design + culture 2021

lights and taillights that have been customized with LEDs. Created by Madeline Hollander, these are controlled by realtime software to illustrate New York City traffic data at a particular intersection in SoHo. Even in our driving behaviors, fundamental patterns emerge.

On another wall that reaches the secondfloor ceiling, a vertical projection by Daniel Canogar features animated human forms climbing toward an actual duct on the ceiling, then vanishing. Meanwhile, within a black-box room, a video projection created

by Argentine artist Miguel Ángel Ríos, Piedras Blancas, shows a herd of 3,200 concrete orbs cascading through the mountainous terrain of Morales, Mexico.

There’s also a “vault within Art Vault,” Foumberg says, though it is temporarily closed as of press time due to COVID-19 concerns. It contains Linear 9 by Santa Fe–based artist Peter Sarkisian, with nine freestanding sculptures, including miniature video dioramas that tell different parts of a story that spans eons. “In all of these works, we see how artists are learning from systems,” Foumberg says. “We’re more connected than we may think.”

Upstairs is the exhibition Saint Somebody: Technologies of the Divine,

COURTESY OF THOMA FOUNDATION

W

ithin the psychology of spaces, vaults generally occupy a private, secure zone. But the nonprofit Thoma Foundation is looking to change that: It’s opening a vast digital and multimedia art collection to the public, free of charge, at a larger scale than ever before, having moved its exhibition space from an adobe gallery in Santa Fe’s Canyon Road art district to a two-story contemporary building in the Railyard. Art Vault is a new concept in a new space, occupying the 3,500-squarefoot former home of Gallery Fritz. “The former space was literally a house,” says Jason Foumberg, digital arts curator for Thoma, referring to the venue’s former name, Art House. Though it had the benefit of intimacy, Foumberg points out that digital art, which can scale up to the size of a skyscraper, needs room. Now, Foumberg and the curatorial team have space to play.

On display through April 2022 are the two exhibitions he’s curated for Art Vault’s debut, which are sure to pull passers-by in for a second look, or touch, in the case of Eau de Jardin (Two Plants).

The piece includes two live, hanging plants connected via sensors to an LED painting that visitors manipulate by touching the leaves. Created by Christa Sommerer and Laurent Mignonneau, it’s part of the first-floor exhibition Networked Nature. Integrating the work of 22 artists from around the world, the installation explores how machine learning, artificial intelligence, and virtual environments can mimic and reinforce the natural patterns that permeate our lives.

On one 45-foot-long wall, a floor-toceiling, two-projection video panorama of birch trees, Blind Eye, by Jennifer Steinkamp, cycles through the growth, death, and rebirth of a forest. Around the corner, and somehow in concert, another wall is installed with 73 automobile head-

Tejas Trade

PHOTO: ERIC SWANSON

COURTESY OF THOMA FOUNDATION (3)

Art | Adornment

LEITHA HERRING | DELL KIRKMAN

Miguel Ángel Ríos, Piedras Blancas (White Stones) (2014), digital video; middle: Carla Gannis, The Garden of Emoji Delights (2014), digital video; top: Peter Sarkisian, Linear 9, video still; opposite: Daniel Canogar, Rise/Times Square (2015), animation still trendmagazineglobal.com 45

Showing at El Museo September – May 903.244.8130 | tejastrade.com Tejas Trade Santa Fe tejastradesantafe

which looks at how we create icons, from an 18th-century oil painting of a saint to an animated video projection called The Garden of Emoji Delights.

Contemporary woodcarvings of saints by José Armijo appear alongside a video projection of Britney Spears’ changing facial expressions, caught within a picture frame. Overall, the exhibition explores how we try to connect with what’s beyond tangible reality. One way we do that is through icons, and as the exhibition 46

TREND art + design + culture 2021

states, these exhibits “call us to action,” whether through “prayers or clicks.”

Meanwhile, the progression of the show raises the question: As we look to the future, are we remembering where we’ve been and who we are? What do our highly specific cultural and religious icons show us about our connected roots? The Art Vault may not have all the answers, but it’s certainly collecting data, revealing patterns, and bringing more art of all kinds into the public eye. R

CHRISTINA PROCTER

Madeline Hollander, Heads/Tails: Walker & Broadway (2020), custom electronics (black and white, silent), LEDs, circuitry, refurbished automobile headlights and taillights

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ELODIE HOLMES

G

lass artist Elodie Holmes has made the environment in general, and bees in particular, the focus of her work for several years. As a beekeeper, she has been espe-

cially motivated to make the public aware of the essential role pollinators play in the preservation of life on this planet.

To drive that message home, she has collaborated with metalworker Caleb Smith on a larger-than-life series of glass and metal images of bees, honeycombs, and flowers (some over ten feet tall), which are currently on display in the Santa Fe Botanical Gardens. One piece, a pear shape gilded onto the outer surface of a glass honeycomb, reminds us how precious and fragile food is and how important it is to live in harmony with nature.

The show runs until June 2022, after which the sold items will be released. In the meantime, Holmes is accepting commissions based on her work from the show.

Reflection, blown glass by Elodie Holmes and forged steel by Caleb Smith, 10" x 40" x 60"; Top: Elodie Holmes making the flowers for Harebell 1

liquidlightglass.com | 48

TREND art + design + culture 2021

926 Baca Street, Suite 3 | Santa Fe, NM | 505.820.2222

New Mexico has long been a refuge for nonconforming, women creatives escaping the suffocating pressures of societal expectation. Within this geographic concentration of independent women there arose a lineage of women artists, many of them settling in Santa Fe. The city has likewise grown into an epicenter for exhibitions by talented female artists from across the United States and abroad. As such, in the summer of 2021, one of the most important sculptural works to come to the international art market—L’Implorante

by French artist Camille Claudel—will be unveiled at Santa Fe gallery Turner Carroll.

Before it was known as the City Different, Santa Fe was known as the City of Ladies. Often sent away by their aristocratic families, due to their reluctance to tolerate the prescribed lifestyle of the East Coast, many women set up home in the Southwest in the early part of the 20th century.

Mable Dodge Luhan, one of these women, began a literary and art colony in nearby Taos that hosted independent-minded artists through much of the 20th century that was seen as an alternative to the bustling galleries of New York. Later artists

like Georgia O’Keeffe, Agnes Martin, and Judy Chicago found solace in the enchanting emptiness, beauty, and exquisite light of the New Mexico desert.

The land itself is magnetic, offering a lifetime of inspiration for those who wish for it—an embrace of clarity that distills artistic practice into an exercise in living. Another artist who presents a clear continuation of this legacy is Raphaëlle Goethals. The swirling, mystic, encaustic paintings by Belgianborn, Santa Fe-based Goethals evoke dense organic fields that are simultaneously empty yet bursting with life. Citing the space between earth and heaven as a starting point for her work, Goethals’ dedication to the land she inhabits offers contemporary evidence of the genius of women painters in New Mexico.

This lineage of women artists continues to be celebrated and extended via the Santa Fe art market. Women artists showing in Santa Fe galleries are featured in the world’s top museums, including the Metropolitan Museum of Art, MoMA, SFMOMA, LACMA, the Smithsonian National Portrait Gallery, The National Museum of Women in the

Swoon, The House Our Families Built, 2021, 14' box truck-based installation Camille Claudel, L’Implorante, ed. 4 of 5, 1905, cast bronze, 26.5 x 28.5 x 23"

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Arts, Musee d’Orsay, Musee Rodin, Tate Modern, and the Brooklyn Museum.

Chinese-American artist Hung Liu’s portraits of historical Chinese women, and recent series of American Dust Bowlera migrant workers, also offer a look into the history of oppression and hope that finds itself at home in Santa Fe. Liu, an internationally renowned artist whose works are included in more than 50 museum collections around the globe, often shares gallery space with two of her most accomplished mentees: Monica Lundy and Lien Truong. To celebrate its 30th anniversary, Turner Carroll Gallery is featuring Liu, Truong, Lundy, and superstar contemporary artists Judy Chicago and Swoon in its summer 2021 exhibitions.

Perpetual renegade Judy Chicago, who makes New Mexico her home, is one of the world’s most influential artists.

She continues to exhibit in Santa Fe galleries, creating boundary-expanding footsteps in which a new generation will surely follow. Chicago’s decades-long body of work offers increasingly potent and universal equations of femininity with the land. Chicago encouraged her “radical adopted daughter,”

Swoon (born Caledonia Curry), to debut in Santa Fe in 2021.

Swoon’s deeply personal work explores the universality and healing power of intergenerational trauma, motherdaughter relationships, and familial bonds. Particularly relevant is her 2021 public artwork, The House Our Families Built. This expanding and transforming box truck diaorama, commissioned by PBS for its American Portrait Project, asks viewers to consider the meaning of ancestral legacy through the lenses of trauma and tradition. Swoon chose Santa Fe as her monumental work’s first stop after its New York premiere.

Santa Fe’s ability to attract, and subsequently create, a lineage of women artists is anything but coincidental. As both a city and an art colony, Santa Fe was built by women who chose to break free from the repressive control of urban life. It is only natural that cutting-edge contemporary women artists are now drawn to the freedom Santa Fe represents.

It is this appeal that brings them to Santa Fe galleries like Turner Carroll, where the female founders of the New Mexico art colony and its future torchbearers meet.

–Alex McLaughlin

Judy Chicago, Dome Drawing Blue/Green, 1968, prismacolor on paper, 54.75 x 54.75" Judy Chicago/Artists Rights Society, NY Hung Liu, Migrant Girl with Puppy, 2021, mixed media ensemble, 55 x 45 x 2" Raphaëlle Goethals, Nimbus, 2021, cold wax and oil on birch panel, 49" diameter

CHARLOTTE SHROYER

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here was little exposure to art in the rural area of central Ohio where Charlotte Shroyer grew up. It was not until many years and

several successful careers later that she discovered her talent as an artist.

Most of Shroyer’s professional life was spent in academia, as a teacher and college professor, and she took art classes at various universities along the way. Everything finally came together when she made a completely unexpected move to Taos, in 1999, a place she admits she never expected to be. “Call it fate, call it chance, whatever you will,” she says, “but it happens.”

She describes herself as a painter “inspired by

history, literature, and imagination,” interests that are clearly evident in the works reproduced here.

Dog of the Night was inspired by The Dog Stars, a book by Peter Heller. “I see images when I read,” she says, “and I was so struck by the part the dog played in that story that I wanted to transform those images into reality.”

Of Time Past reflects her love of historical European abbeys, and Not Alone, an abstract, emphasizes the connection between humans and animals. “No one is alone,” she says. As for The Odd Couple, she admits to having no idea where that came from. “It just appeared.”

Although Shroyer’s work is clearly influenced

by Picasso, she says it is hard to know what really influences painters. “We are composites of what we see, hear, and experience, and everything goes into the brain and comes out in ways we never expect. I generally have no idea how my pictures are going to turn out.”

charlotteshroyer.com | Studio: 704 Zuni Street, Taos, NM | 575-751-0375 jackiestradingpost.com | 129 North Plaza, Taos, NM | 575-758-4828 trevisan-international-art.com | Trevisan International Art | Ficarolo, Italy 52

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From left: The Odd Couple, oil on paper, 6” x 4”, 2021 Dog of the Night, monotype with pastels, 8” x 8”, 2020 Not Alone, monotype with oil and pen, 8” x 8”, 2021 Of Time Past, oil on canvas, 20" x 16", 2021

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SUZANNE BETZ

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uzanne Betz has a very special relationship with horses. “I’ve loved them from a young age and have painted them all my life,” she says. “My

experience with my own horse changed me forever. I did not appreciate their true nature until my intimate relationship with my own horse, and from that a mutual trust was formed.”

She describes horses as, “a symbol of freedom and occasionally transcendence. They are powerful and generously give that to their humans. They offer spiritual adventure of heart and mind and a strong mutual bond is possible.”

Her paintings have no backgrounds. “Putting a white horse in a plain black background puts the white of infinity into the grounding of black and the possibilities in between. I don’t feel the need to add anything more.”

Only You, mixed media, 28" x 31"

We Are One, mixed media, 25" x 22"

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JARRETT WEST SCULPTURES These large-scale outdoor works all start with a locally blended clay, a good breakfast, and the desire to create a collaboration with landscape and architecture. Jarrett West’s work is considered abstract minimalist, contributing to a conversation with dynamic colors and textures of our environment.

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COLLABORATIVE VISION

BY ANYA SEBASTIAN | PHOTOS BY KATE RUSSELL

W

hen artist Joel Hobbie first walked through the door of the place that was to become his home, it was the potential that fired his imagination. The house itself was unassuming, typical Santa Fe style, and, as he recalls, “You could tell it was built in the ’90s. The countertops were covered with bluebirds; there were ceramic tiles with grapes on them, Saltillo tiles on the floors.” But the location and views—high on a hill overlooking a Santa Fe dog park—were stunning, and he liked the open space of the layout, even though the finishes and details weren’t even close to what he wanted. “Those were things that could be changed, after all,” he says.

Hobbie is no stranger to reconfiguring shapes and spaces, nor to partnering with other artists to achieve his vision. A creator of futuristic sculptures made from recycled metals and machine parts, Hobbie is also a go-to guy for movie special effects, a natural segue from his work as the former director of fabrication for the Meow Wolf artists’ collective. When it came to his own space, he envisioned an updated and contemporary vibe, which in turn was refined by the collaboration among the various artists involved.

Hobbie bought the three-bedroom, two-bath, 2300-square-foot house in 2013, which, as it happened, was also the year he met Jenny Belanger at the Burning Man festival in Nevada. A Canadian interior designer with her own company (Jae Form Studio) and a background in construction and engineering, she was the perfect person to organize and oversee his home renovation when, several years later, the time finally came for a makeover.

Belanger had never worked with a client who was also an artist. “Joel has a particular taste,” Belanger says, “and his color palette is basically black, gray, and white. He also has a big art collection, including a piece by the video and multimedia artist Peter Sarkisian, which had to be incorporated as well, so these were challenges I had never had to deal with before.”

Belanger put together the design ideas and purchased all the materials, making a point of supporting local businesses in the process, whenever possible. “I had no idea what she was really capable of doing,” Hobbie recalls. “She was able to see things that I wasn’t and she really transformed the place.

Jenny’s insight and ideas were absolutely essential to the success of this project.”

Although Belanger’s renovation created a decidedly contemporary space, she did retain some original architectural touches, like the vigas in the living room ceiling and large wooden beams over archways. “Knowing the homeowner’s interest in art, technology, and space, along with his being a world traveler, it was important that I capture those different

facets and infuse them into his living space,” she says. “I wanted to make sure I selected the perfect wall color that would showcase his art collection, and I hand-picked furniture and lighting to reflect his liking for minimalist and futuristic design.”

The basic colors of black, gray, and white, seen throughout the house, are broken up by brilliant splashes of color—multicolored cushions, a bright red dining table, colorful art, dramatic green walls in the second bathroom, and a striking arrangement of plants.

It was Kate Russell who introduced the inspired botanical artistry of Jeanna Gienke to Belanger, who immediately recognized Gienke’s work as the perfect way to further customize the home. The unusual, visually captivating selection of plants, together with their specially chosen containers, are like natural sculptures that enrich and add warmth to the sleek interior. “I love working with minimal, clean lines,” Gienke says.

“The absence of clutter really makes it possible for the plants to stand out as interior design features that complement the home environment.”

Another unique feature of the home is the “sky hammock,” which stretches across a specially constructed tall metal frame on a deck outside the living room window. “That was my idea,” Belanger says. “Joel then sourced the materials and put it all together.”

Reached by climbing a fixed metal ladder, it is intended as a perfect spot for sunbathing and to take full advantage of the expansive views.

One of the things Hobbie loved about the house was its location perched on the side of a hill, which offers a grandstand view of Santa Fe’s legendary sunsets. The original house had an uninviting back deck with an unused sunroom, which obstructed that view.

Both are now gone, opening up the space to Designer Jenny Belanger chose chartreuse for client Joel Hobbie’s guest bathroom walls because it couldn’t have been farther from black and grey, Hobbie’s favorite “colors.” She accented the wall with one of botanical artist Jeanna Gienke’s pieces, a mounted elkhorn fern on a charred cedar plank.

facilitate the enjoyment of uninterrupted sunsets from inside the house year-round.

A few of Hobbie’s own distinctive creations are prominent both inside and outside the house, but most of the art on display inside the home is the work of other artists.

Some pieces were picked up during his extensive travels around the world, but many were acquired while he was working on past projects, visual reminders of the many years he has spent joining forces with other artists.

The teamwork that went into this particular project made Belanger, in turn, realize how much she loved collaborating with people who were experts in their field and could add to what she already knew. Even though they are all distinctive artists with unique talents, they found they worked well together, feeding off each other and benefitting the project as a whole.

“We sometimes butted heads on this and that, little things here and there,” Hobbie says, “but it was the collaboration of everybody involved that delivered the potential I saw—and even more—when I first walked in the door.”

At no time did Hobbie say that he wanted the house to reflect his art, but that is how it ended up—an organic structure combined with futuristic elements, reflective of his own sculptural creations, but at the same time a warm and comfortable space.

“Jenny was able to take the things that inspire me and work them into a design that just took the project to a whole other level.” he says. “Jeanna’s organic plant sculptures add warmth, and they blend perfectly with the work I do as an artist, and having Kate as a fine art photographer shooting such a sculptural project really brings it full circle.

I don’t think it could have been any better.

Now that it’s done, I really love it.”

PHOTOGRAPHER: KATE RUSSELL STYLIST AND PLANT DESIGN: JEANNA GIENKE INTERIOR DESIGNER: JENNY BELANGER, JAE FORM STUDIO MODEL: NICOLE CUDZILO trendmagazineglobal.com

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The living room, with its midcentury modern furnishings, features a number of Gienke’s artistic touches, including a corkscrew rush wrapped in a kokedamas form and placed in a tabletop moss garden. Photographer Kate Russell’s dog Luigi Houdini Russell is also buds with Hobbie, and is always a welcome houseguest.

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The clean lines of a shallow pumice bowl holding a euphorbia lomelli and a tabletop tray of Mexican feather grass add additional organic interest to the space. Hobbie’s Blue Rope hangs on the wall at right.

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A half-moon betta fish named Rouge lives in a hand-blown glass piece on the kitchen island. Gienke designed the tabletop tray with Mexican feather grass to soften the clean, precise lines of the counter surfaces and tile, which was handmade by the artisans at Kibak Tile in Portland, Oregon.

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Hobbie asked good friend Russell to document the finished renovation, and she added her distinctive style to the shoot, which included artist and model Nicole Cudzilo to add a human element and a thick length of rope to add scale and humor. Russell’s Motel 6, from her “Ricochet” series, hangs on the wall over the buffet, which also holds Joel Hobbie’s Untitled. Peter Sarkisian’s White Water Series hangs on the wall to the right of the hallway.

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This page and opposite: Micro-environments are important in the high mountain desert, and Gienke created a series of them for the bathroom, including, this page, two large philodendron selloum next to the tub, with Cudzilo.

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Another view of the living room. Belanger retained some of the home’s original features, like the wood-beamed ceiling and kiva fireplace.

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Blue fescue grass adds textural interest atop a bright red table and chair set, which Belanger chose to add a pop of color to the neutral gray tones that Hobbie favors.

A painting by John Stavole is just to the right, while a piece by Erin Staffel hangs over the bed.

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A pumice bowl holding echeveria, “fish hook” senecio, and sedum, designed and cultivated by Jeanna Gienke.

Opposite: Cudzilo outside the master bedroom suite.

Belanger and Hobbie worked together to design a simple space suitable for rest, summer shade, and an alternative way to view the skies and stars.

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Belanger chose chartreuse for the home’s front door as well, and the color imparts a warm, welcoming, and slightly playful vibe to the entry (Luigi Houdini obviously approves). Opposite: The reconfigured patio is the perfect spot from which to watch the sun set.

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ADVANCED SURVIVAL

I

BY GUSSIE FAUNTLEROY | PHOTOS BY DOMINIQUE VORILLON

n 1996, Brooklyn-born Howard Mintz was ready to leave city life. He was running a successful San Francisco-based construction business building custom residential and commercial projects on both coasts, which he managed remotely. While considering where he might relocate, he remembered how he’d been mesmerized by Northern New Mexico’s expansive beauty when he bicycled through the state as a young man. With that in mind, he conjured up a modest vision: buy a couple of acres near Taos and put up a $60,000 cottage for his slowing-down days.

Instead, he found and fell in love with a magical forested mountaintop just west of Taos, with spectacular views and the kind of isolation and deep quiet that feed his soul. As soon as Mintz found the property, he abandoned the idea of a small, simple home. He began combining his extensive design and custom-building experience with an intensive study of sustainable construction in the Southwest. He toured Michael Reynolds’

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Earthship community and investigated passive solar design, water catchment and recycling systems, and various materials and technologies that meet the highest LEED (Leadership in Energy and Environmental Design) ratings, even though LEED had not yet been established in New Mexico at the time he began to build. He chose a site near the highest point on his 300-plus-acre property and has spent the past 20 years designing and building a . . . well, not a cottage.

It’s more like—or will be when it’s finished in a couple more years—a minimalist yet commanding work of sculptural art that doubles as a survival shelter. The 4,000-square-foot structure radiates an aura of strength and cohesion and reflects Mintz’s commitment to thoughtfully employing and protecting the gifts of the earth. That includes zero-maintenance poured-concrete walls, an efficient passive solar design, renewable Alaskan yellow cedar-wrapped steel beams and doors, Brazilian black soapstone

floors for heat-storing mass, and a never-rust zinc roof, among countless other details of sustainability and custom design.

In keeping with the predilections of its owner/designer/builder, the home also serves as something akin to a one-monk monastery. Mintz has traveled the world and studied Taoism, Buddhism, and other spiritual traditions, and he also pursued a 24-year Hatha yoga practice before a speed-induced motorcycle incident almost severed off one of his feet. At 71 he lives alone, currently in a green-built guesthouse on the property. His days are a mix of overseeing his longtime crew of local carpenters and craftsmen, collaborating with Taos-based architect William Hoffmann, and quietly being in a place he loves.

From the decks off his home-in-progress, he takes in the magnificent panoramas that include a view of his herd of 65 yaks, which provide local and online customers with meat. He enjoys the activity of horses and llamas, three large dogs, and the colorful koi in the infinity-edged pool bordered by the house and front walkway. He glimpses an abundance of wildlife: raptors and other birds, bobcats, mountain lions, and assorted smaller critters.

“I love the isolation,” he says of the 640 acres that constitute his own land and the adjoining ranch where his neighbor is happy to allow the yaks to roam.

The structure is also pretty much indestructible. Drawing on his seven years of seismic upgrading work in San Francisco, Mintz designed and built his New Mexico house to withstand an 8.0 earthquake. Virtually every material is fireproof and can handle extremely strong winds. The reinforced concrete walls and zinc roof will last centuries with very little maintenance. And everything—from solar gain and thermal mass to exceptionally high insulation values, including custom-made windows with a one-inch air space between panes—is aimed at maintaining a comfortable indoor environment with a minimal carbon footprint.

“This is my passion: custom building,” Mintz says. It doesn’t matter to him that many of the construction elements took years to research and custom source. Or that he and Hoffmann worked closely together for six years and went through nine scale models before coming up with the current design, a process the architect describes as a “long and fascinating search for the right expression of Howard’s vision.” Part of that exploration involved looking at the work of well-known architects from around the world. Mintz is particularly attracted to Japanese architect Tadao Ando’s minimalist aesthetic and use of cast-in-place architectural concrete. For this structure, Mintz and his team engineered and custom-built all the forms for pouring massive amounts of concrete for walls and other architectural elements.

Yet even years into construction, the home’s design has continued to evolve. At one point Mintz realized the master suite needed to be larger, and the only way to accomplish that was to extend one wing. When he did that, the front entry suddenly became visually balanced with the rest of the house.

Themes of balance and repetition run through every aspect of the design. All the floors are black soapstone. All the ceilings are bamboo.

All the walls, which will remain unpainted, bear the same snap-tie pattern, small circles from the ends of snap-tie bars reinforcing the concrete.

Balance is also an essential theme in Mintz’s life, especially since his motorcycle accident. One day in 2017, he was riding his Indian bike at high speed. Passing a car on a two-lane road not far from his ranch, he revved it up to 105 and was almost past when an oncoming car emerged from a dip in the road. He swerved to squeeze between the two cars and was a hair away from making it when his foot hit the oncoming car. A hundred yards later he managed to stop. When he looked down, he saw that his foot had been wrenched around 180 degrees, and he soon learned that all the bones were shattered.

Specialists were able to reconstruct the foot, and now Mintz walks with a cane. “It completely slowed me down,” he says. “I appreciate things differently now. I get deeper into what I’m doing—I’m more focused in the moment. It’s so simple, I can’t explain it. Everything is here, and now I’m more open to see it.” Gesturing to the sky, trees, and vistas, and, closer in, to his ultimate project, he smiles and adds: “I just wake up every day to this.” R Despite a proclivity for speed-on-two-wheels in his younger years, Howard Mintz is a patient man: He spent a full year and a half looking for the perfect piece of land, and he has been hands-on designing and meticulously overseeing the construction of his home for the past 20 years. The results, including magnificent views and serenity on a remote Northern New Mexico piece of heaven, are more than worth it for him. trendmagazineglobal.com

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The south deck from below. The deck opens out from the great room, exercise room, and guest suite, with another deck accessible from the master suite. The stainless-steel fireplace fluepipes are wrapped in a material made by the German roofing material company Rheinzink to prevent glaring reflection from the sun. Concrete gutters channel rainwater into storage cisterns for use in the koi pond and fountain.

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Juno the Siberian husky and bullmastiff puppy Little Dixie sit at the top of three steps above a long walkway bordered by an infinity-edged koi pond at the front entrance. The triangular skylight above the entranceway is made of UV-blocking glass, like that used at the Smithsonian, to protect artwork on the foyer walls.

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Because the koi pond’s water circulates through aerobic bacteria filters in the basement mechanical room, the room’s heat warms the water and keeps it from freezing in winter. Mintz designed the small, square windows with beveled concrete exterior sills reminiscent of 19th-century Western forts. The top and west side of each opening was kept flat to produce a shadow line in the outer window cavity as the sun begins to set. “Every square inch of this house was carefully thought through,” he says.

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The fireplace doors (pictured here in the master suite) are framed in hand-forged steel and are made of clear ceramic, not glass, to withstand years of intense heat. On the left, a metal door in the fireplace opens to a dumbwaiter for bringing firewood up from the garage.

The same dumbwaiter also delivers groceries to the kitchen area from a door on the back of the fireplace. Every concrete wall in the house, including the concrete fireplace, is slightly inset at the bottom, creating a shadow line and the illusion of the wall floating above the floor.

At the right, an opening between the bedroom foyer and great room will hold a 500-gallon aquarium for the fish-loving homeowner.

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The home’s floors are black Brazilian soapstone steaked with jade-green, brown, and gray. In winter the stone absorbs and gives off warmth from the south-facing windows. Sun through the triangular skylight creates dramatic shadow patterns on the foyer wall. Beyond is one end of the great room, with a monolithic concrete fireplace in the process of being built. Off the foyer, a stairway with curved steel bannister leads to the basement, mechanical room, and garage.

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Along with Mintz’s hilltop home, his 300-plus-acre Casa Butte Ranch accommodates a 65-head herd of yaks, which provides local and online customers with lean yak meat. Mintz enjoys watching the shaggy creatures, as well as llamas, horses, and a wide variety of Northern New Mexico wildlife. The longtime custom builder left the big city for this kind of living, enhanced by his property’s spectacular views.

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Mintz confers with Mario Vigil of Taos (middle) and Mario’s son, Tim. For 20 years Mario has served as project manager on the home, bringing his son onto the job about ten years ago. “They’re magic, they made this dream come true,” Mintz says. He has also engaged a number of other local artisans for specialized aspects including hand-forged steel, stone, and woodwork.

Bottom: Mintz brought in a 15-ton hexagon of jet-black basalt from a Washington State quarry to create a fountain for the entrance approach. Mark Saxe (on right), a stone mason and sculptor from Rinconada, New Mexico, shaped the monolithic form. The stone was cut horizontally in two and a basin sculpted into the top of the lower piece. A borehole was drilled for piping water and electricity up from underneath and the halves were rejoined, with an opening (at Mintz’s shoulder) that provides a view of the mountains straight through the stone. Circulating water will flow up into the underwater-lit basin and out into the fountain’s base, making the wet stone appear like black marble.

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To excavate for the home’s foundation, a mountaintop of solid basalt had to be broken up into thousands of multi-ton boulders. Mintz decided to recycle the grey basalt chunks by using them as a landscaping feature. The home’s extremely durable roof system is virtually pure titanium zinc from the German company Rheinzink. Mintz brought in specialists from Europe and Great Britain for three summers to cut the material, which comes in 600-foot rolls weighing 1,000 pounds each. The tinsmiths worked on-site to fabricate the Rheinzink into interlocking siding panels and standing-seam roof, which they installed.

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The great room with Alaskan yellow cedar concealing the structural steel I-beams. This lowers the ceiling’s high point from 20 to 14 feet, creating a more comfortable scale and a gentle curve that softens the space. Within the great room is a large U-shaped kitchen (not pictured) whose central feature is an 11-foot-long dining table custom-made from solid walnut—“like a wood sculpture,” Mintz says. Custom kitchen cabinets are stainless steel. At the far end of the room, forms are being built for the 14-foot-tall, cast-in-place concrete fireplace.

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To help retain heat in the home, the north side (master suite bath wing pictured here) has only a narrow, tall window. The extremely well-insulated structure incorporates R61 in the ceilings and 12-inchthick poured concrete walls that all contain a central vertical layer of 4-inch rigid foam insulation. It took six months to pour each wall.

Along with passive solar, heat is provided by four massive concrete fireplaces and propane radiant heat, with radiant heating installed not only in all the floors but also within the inner layer of the external concrete walls. This serves as a thermal break so no heat can escape through the walls. The system functions “like a dream,” Mintz says.

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EUREK A hammer slams against a chisel and a sculpture is born. Pigment is poured and emotion awakens. A pencil sketches along a piece of paper and a face emerges.

A brush is wielded and history is revealed.

All acts of artistic faith, maybe even obsession, born of individual eureka! moments in the hearts and minds of the four artists showcased here. Each welcomed photographer Audrey Derrell into their studios, where she worked her own artistic magic, capturing with the click of her lens their individual processes, personalities, and passions, along with the drive that propels their work and keeps them engaged with the creative process.

Certainly you have to be obsessed to be a stone carver. The work is physical, tough, and sometimes dangerous, requiring hazmat-like protective gear and heroic levels of stamina. Master stone carver Somers Randolph is nothing if not obsessed, having spent most of his career carving what he calls “the perfect curve.” “I stole it from a line drawing I saw over 40 years ago,” he says.

“I’ve chased it again and again, and I’ve loved it the entire time.” Working from his studio in Santa Fe, where the Washington, D.C., native has lived since 1997, Randolph hammers, chisels, and grinds intractable pieces of marble, soapstone, and granite into sensuous, undulating shapes, some knitted and knotted, others looped and swooped, that defy the eye and bend the mind. Never

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interested in representational forms or exploring the limitless possibilities of clay (“too big a world for me”), Randolph instead prefers the limits of the subtractive process. “You can’t go bigger.

You can’t add.” But you can hone your vision.

Each of his pieces, whether small-scale or monumental, is an expression of the appeal of perfect geometry, both as an intellectual exercise and an emotional experience.

What the curve is to Somers Randolph, color is to Bette Ridgeway. A native of Upstate New York who has lived and worked in Santa Fe since 1996, Ridgeway has been drawing and painting since she was a child. While her early work, small landscapes and beach scenes, grew increasingly abstract, it wasn’t until painter Paul Jenkins, whom she’d met in 1979, looked at her work and told her to eliminate everything but the color that it hit her: she was actually a colorist. It all made sense. “There’s never been a time when I haven’t thought in color,” she says. “When I sleep, I sleep flowing color . . . it’s part of my DNA. I know that color and I are one.” That aha! moment with Jenkins set her on a path she continues to tread today. Instead of sitting at an easel, she pours, wipes, manipulates, and layers jars of pigment across huge swathes of canvas in a method that has evolved into a kind of dance, equal parts chaos and control, instinct and refinement. The results, which hang in homes, galleries, offices, and institutions around the globe, are breathtaking explosions of color that transcend the illustrative

EKA!

BY RENA DISTASIO | PHOTOS BY AUDREY DERRELL

and become powerful and autonomous forces of expression.

An exceptional draftsman who is both highly disciplined and highly imaginative, Michael Bergt is a storyteller who uses the techniques of classical painting and drawing to tell intricate tales of the modern human condition.

“My inspiration is the Italian Renaissance,” he says. “Botticelli, Piero Della Francesca . . . if they were commenting on our world today, what would it look like?” Egg tempera became his medium of choice when he discovered it in 1980 because, he has said, it is the closest thing to drawing in paint.

With it, he honed his distinctive cross-hatching technique, which allows him to fully explore his passion for pattern and decoration as well as the human figure in all its complexity. His work reveals an exceptional intricacy, precision, and depth, marrying pattern and design with a magical realist narrative style that often takes its cues from ancient myths. For Bergt, the human figure is both object—muscular, earthy, sexual/ sensual, decorative—and symbol, a vehicle for allegory and mythmaking. The tension between the two is what makes his work so compelling. “I think a painting has to work on several levels simultaneously,” he says, “Even if the viewer doesn’t get the mythological, political, or allegorical references, it still can work as a painting, a beautiful object in itself.”

Echoes of the past likewise inform the work of Nikesha Breeze. It was around the time that Donald Trump started campaigning for president

that the longtime interdisciplinary artist felt an intense need to dig deeper into her ancestry. She traced her mother’s Assyrian heritage back nine generations, but she hit a wall when investigating her father’s African American lineage. “To be able to only go back two or three generations was difficult,” she says. “I felt like something had been stolen from me.” It also marked a turning point in her art, spurring intense and ongoing research into the African Diaspora, which in turn resulted in a flurry of work honoring the unsung, the marginalized, and the enslaved: ceramic death masks; paintings based on archival photos of Black slaves, laborers, crafts people, and children; multimedia works representing the path and pain of her ancestors; and her first large-scale solo exhibition, Four Sites of Return: Ritual, Remembrance, Reparation, Reclamation, an interactive visual and ritual event at form & concept gallery in Santa Fe. Part investigative reporter, part medium, Breeze’s process ultimately translates as deep listening to the stories and images she unearths. “I fill my mind with the voices, and then let all of that scholarship go and see what happens on the canvas and in the clay.”

Whether transforming stone, harnessing the expressive qualities of color, crafting modern mythologies, or mining one’s ancestry to create new artifacts of justice and healing, these four artists allow us a glimpse into art-making as a way of life—vision and obsession coupled with focus and skill, honed into lifelong discipline. R trendmagazineglobal.com

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Whether monumental, tabletop, or small-scale sculpture, or even jewelry, Somers Randolph’s work reflects his interest in exploring the form within the stone. Bottom: The sculptor has been whittling small pieces in soapstone since the early 1980s as a way to hone his vocabulary of forms quickly and without the cost of larger blocks of marble. “What I’m learning is the rhythm and pattern between the curves, how the inside reacts with the outside.”

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Randolph doesn’t title his works, preferring to leave that up to the owner. This piece of Italian alabaster surprised the sculptor with its blue center, which he highlighted by creating a link carved loosely but connected to the main piece. While he embraces the perfection of the resulting surface, he also cherishes the imperfection that comes from using his hands to make it. “Without that, it loses its human connection.”

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Randolph with a work in progress from Italian black marble. “It’s risky to carve large blocks for my own enjoyment and trust that someone will want to buy them,” he says. But, as he points out, one of the most exciting things about carving stone is that every piece is unique. “No editions or replications; the process of carving each piece from a block insists on rarity.”

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Bette Ridgeway with Euphoria (2020), acrylic on canvas. Although her work is abstract, it is also informed by her deep connection to nature and its kinetic forces. “Everything I do is really inspired by nature,” she says. “I see nature in the work . . . there is a physical flow, rivers of color that flow in front of me, like a dance, poetic and balletic.”

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Three of Ridgeway’s paintings hang in the dining room of her historic Santa Fe home, adding a contemporary feel to the traditional decor. From left to right: Serenity (1997), Double Vortex (2019), and Looking for the Rainbow (2019), all acrylic on canvas. Opposite: A Page in the Book of Life (2021), acrylic on canvas. Ridgeway has said of her method that it is accident so carefully courted on her terms that chance becomes technique.

“I might think of a shape or color or combo of colors, and when I’m working on it, it tells me something very different and I have to follow it. The path I start on is not likely where I end, kind of like life.”

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Michael Bergt, surrounded by ink drawings based on his quick, from-life sketches. Depending on the pose, these might suggest to him certain narratives for new work, or a continuation of an existing series Opposite: Breaking Free (2020), egg tempera and gold leaf on panel. The painting is part of his recent “Chrysalis” series, in which he explores ideas of personal and societal metamorphosis in light of our collective pandemic experience—who we will become once we “emerge.”

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Released (2020), egg tempera and gold leaf on panel, is also part of the “Chrysalis” series, referencing one of the most famous nudes in Western art while confronting its racial stereotypes. In Manet’s painting, a Black servant presents a bouquet of flowers to a reclining nude, but Bergt reverses the roles here, compelling us to confront our unconscious projections. The release of butterflies represents the metamorphosis of a dynamic, the change of a state, and a new mission to pollinate these ideas in the world.

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“Whereas some painters try to turn people into the common man, I try to do the opposite,” Bergt says of his portraits, looking to find in his subjects elements that remind him of a Classical or Renaissance ideal.

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Nikesha Breeze in her studio, with two pieces from “Within this Skin,” a series of life-sized oil paintings on reclaimed closet doors. In 2018 these drew the attention of Matt Thomas at the Harwood Museum of Art, which chose seven of them for a solo show, making Breeze the first Black person ever to garner a solo exhibition at the esteemed Taos museum.

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WEB Dubois Negro Women 1910 #1 and #2 (2021), charcoal on cracked gesso on canvas. It’s critical to Breeze’s process to first build up the surface of the canvases, sometimes even leaving them out in the weather to “ruin.” “All my work starts with layers of paint with different textures and consistencies, which create a kind of tension. I have no idea what figure will show up on the surface until I do that.”

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Anonymous African American Woman with Basket, 1855 (2020), oil on canvas. The painting is one of Breeze’s archival portraits, which translate some of the first recorded images of Black Americans as a way to honor and give recognition to people who were enslaved and discriminated against in their own time.

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The Arc of Return (2021), Baltic birch, hand-etched copper plates, and copper mesh. The arc sits in the center of Sanctuary of Wound (2021), a site-specific installation that includes curtains made from indigenous crops— cotton, wheat, sugar and corn and a composted cotton burr ground. Black Godexx of Time (2021), hand-etched copper and copper patina, lies inside the arc. Both pieces were included in Breeze’s solo show at Santa Fe gallery form & concept, Four Sites of Return: Ritual, Remembrance, Reparation, Reclamation, which explores the Black experience through visual art and ritual performance.

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JIM WOODSON

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Above: interior of Jim Woodson Gallery in Abiquiu

Opposite: Jim Woodson with Enfolded Penetrated Infusions, (2020), oil on canvas, 96" x 20"; exterior of gallery

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Immerse yourself in a world of tribal art and ethnographic treasures at Traveler’s Market.

With 20,000 square feet and more than 40 dealers, we are a unique destination selling tribal and folk art, jewelry, carpets, textiles, clothing, beads, books, furniture, housewares and more. Every item is sourced from private collections and from a unique variety of cultures around our planet.

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Mary Stratton in her Taos gallery/studio

MARY STRATTON

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fter completing art and design school, Mary Stratton placed her desire to be an artist on the back burner while she raised her family and pursued careers in advertising and real estate. She had “kept a brush in her hand” all the while, and when she retired, she made a purposeful move to the

Southwest to be surrounded by the colorful landscape and culture. Once there, she began to follow her dream to be a fulltime artist.

Stratton started painting from home and soon began showing her work at art shows and some select Taos galleries. She worked for several years with hot wax (encaustic) but eventually found that cold wax

thoroughly enjoys the interaction with art buyers from around the country.

Stratton’s abstract paintings are primarily distinguished by their vivid color combinations and geometric approach. “My love of color just flows onto my boards,” she says, “and as for seeing things in a geometric way, I guess that’s the result of drawing so many floorplans in design school.”

Stratton feels she has finally “arrived” as an artist. “I love what I am doing, my work is selling, and I have thousands more paintings in my head,” she says. Her work is successfully consigned in Aspen, Colorado, and her plan is to expand her exposure into additional Southwest art markets.

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Gallery/Studio: 102 Dona Luz St. | Taos, NM | 575-770-0760

EMILY WILDE OF EWILDE GRAPHIC DESIGN

and oil was her true medium. Today, she paints daily in her own gallery/studio just off the Taos Plaza and

‘Fire & Ice 51’, 30” x 40”

www.marystrattonart.com marystrattonart@aol.com 575-770-0760 • 102 Dona Luz, Taos, NM 87571 (West of the Taos Plaza and behind US Bank)

FRED BURNS

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red Burns’ attachment to classical art is clearly evident in his large-scale drawings and paintings, which almost exclusively celebrate the female

form—whether nude or extravagantly bedecked and bejeweled. The connection goes way back, the seed having been planted by a book of Manet paintings his grandmother gave him when he was ten years old. “I believe women are the supreme product of natural selection,” he says, naming Manet, Toulouse-Lautrec, and Botticelli among the masters who have inspired and influenced him over the years.

His classic pieces are always large, and Burns always works with live models, never photographs. “I use big canvases, because I want to create a space that you can get into, to be with the painting,” he says. “I want people to stop and look and spend time entering the piece, thinking how it was made, noticing the texture.

There’s an intimacy, a sensuality, in the surface, and I want the audience to participate in that magical space.”

Although he uses live models, his aim is not to produce a photographic likeness, but to let his imagination roam free and create an image that blends reality with fantasy.

As for his plans for the future, Burns says he would like to move on from charcoal, graphite, and pastels, to go back to painting in oils, and go even bigger, but still working with the female form. “I’ve never been inspired to paint male models,” he admits. “I just don’t have the same emotional connection. To quote the poet, Theodore Roethke, ‘Beauty loves the gander, but adores the goose.’”

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| Rootwings Art at Herran House | Ridgway | Colorado | 619-885-5521

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From left: Dressed to Kill, pastel, 44" x 30" Woman with a Pearl (after Corot), pastel, 44" x 30" Pirate with Attitude, pastel, 50" x 25" Red Dress (after Goya), pastel, 50" x 25" trendmagazineglobal.com 133 113 trendmagazineglobal.com

REFLECTIONS

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BY IRIS WRIGHT | PHOTOS BY BILL CURRY

rom the moment he was plucked from obscurity to become the face of runway shows, ad campaigns, TV commercials, and magazine covers, Pennsylvania native Bill Curry has kept his gaze on the other side of the lens. He bought a Canon AE-1 camera on his first trip to Europe as a model for Nino Cerruti in the late 1970s. After shooting while on location in Greece, he would wander the streets and countryside to immerse himself in the local culture, a learning experience that continued as he traveled the world for the next 25 years. Arriving in New York at the fashion world’s zenith, he enjoyed the social benefits of representing Armani, Versace, Calvin Klein, Ralph Lauren, and Donna Karan by keeping company with Andy Warhol at The Factory and many celebrities of that era at Studio 54.

Meanwhile, Curry was exploring his own interests off the set.

After a trip to Morocco, he mingled with Berber tribesmen and explored the famous souks of Marrakesh. Curry also attended a Karuk sweat lodge ceremony with medicine man Charles Red Hawk Thom, who would be a spiritual mentor to him for the next 25 years. The stark contrasts between Curry’s hyperactive modern existence and the authenticity of tribal life brought home to him the importance of sincerity on both sides of the lens. More than most, he saw how a photograph could be no more than a paper image unless it reflected a deeper relationship of trust. A lifelong admirer of National Geographic, Curry aspired to the same insider approach, spending hours and days in a community before attempting his first shot. His charisma, lively curiosity, and natural ease inevitably won his subjects’ trust. He likes to quote

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the photographer Henri Cartier-Bresson: “One has to feel oneself involved in what he frames . . . It is putting one’s head, eyes, and heart on the same axis.”

In Taos, where he has lived since 1992, Curry found a magical light and harmonious balance between three rich cultural traditions, anchored by the centuries-old heritage of Taos Pueblo.

“Immediately, seeing the characters and the land and the culture, there was no doubt that this is the place I had to be for the rest of my life,” he recalls. As he met and mingled with the town’s residents, Curry found opportunities to photograph Taos Pueblo governor Tony Reyna, painter Agnes Martin (he simply knocked on her door), curandera Margarita Mascareñas (at age 100), not to mention Roxanne Swentzell and Robert Mirabal. In the case of the latter, the Grammy Award-winning musician had Curry shoot his concert at Carnegie Hall and a commercial for his winery as well as intimate portraits at home with his daughters. “Whether it’s cowboys, Indians, poets, painters, or musicians, it’s access,” Curry explains. “The best reality for any portrait photographer is to have access to someone, in comfort and with ease. That’s when you get your very best portrait.”

For Trend, Bill Curry presents the diverse faces of Taos through a lens that recognizes the inner quality that makes for more than just a pretty face or nice photo. “The other incarnations of my life certainly led to me traveling the world and picking up a camera and understanding light,” Curry says, looking back at his two-decade career on this side of the lens. “But at the end of the day, it’s really New Mexico itself that has made me a much better photographer.” R

Best known for the Fenn Treasure, a $2 million cache of gold and jewels that he hid in the Rocky Mountains, Forrest Fenn was also a fighter pilot, adventurer, antiquities dealer, author, and master storyteller. He died September 7, 2020 at the age of 90, three months after the treasure was found by a medical student from Michigan.

Right: Tony Reyna served twice as governor of Taos Pueblo, where his efforts at cultural preservation helped the tribe regain control of its sacred Blue Lake. A famed survivor of the Bataan Death March, he spent three and a half years as a prisoner of the Japanese. He established Tony Reyna’s Indian Shop in 1950, which is now run by his son. He died in December 2016 at the age of 100.

Opposite: Traditional drummer Benito Concha performs in concert. Born into a drumming family at Taos Pueblo, Concha is a master of the Hoop Dance and Eagle Dance and often performs with other members of his family. He is also a massage therapist and natural healer.

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Issa Williams of Nigeria is a handbag designer and leather craftsman.

Right: Longtime Santa Fe blacksmith Frank Turley, shown with wife Juanita, helped power the resurgence of blacksmithing in the United States. At his Turley Forge Blacksmithing School, he insisted on making his own tools and using a coal-fired forge instead of gas. He was also known for his mastery of Tai Chi and the traditional pow-wow Straight Dance. Fashion designer Patricia Michaels is among his stepdaughters. Turley, who died in November 2020, was buried in full powwow regalia.

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Maritza “Maggie” Mascareñas was a well-known curandera (healer) and sobadora (body worker) who worked for many years out of Cañon, NM. She died in Taos past the age of 100.

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Grammy Award-winning Native musician Robert Mirabal with Kona Sunrise, one of his three daughters. One of Taos’ foremost celebrities, Mirabal is also a poet, farmer, silversmith, wine maker, and actor. Kona, who has performed with her father on stage, including at Carnegie Hall, since she was young, is an herbologist who is getting a degree in holistic medicine. Mirabal’s youngest daughter, Masa Rain, (opposite) is also a singer.

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Silversmith Bobby Lujan, in 1996. Known for the massive stones used in his jewelry, Lujan (nephew of Tony and Mabel Dodge Luhan) began making jewelry in the 1960s, one of the first to do so from Taos Pueblo, and continued until his death in 2012. He was also a ceremonial hoop dancer.

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Roxanne Swentzell with her granddaughter, Cedar Rain. The Santa Clara Tewa artist is known for her female portraits in clay and bronze, which have been exhibited at the White House and in international museums.

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David Manzanares is Spanish, Mexican, Tewa, Yaqui, and German, and his family has lived in New Mexico and the Abiquiú Valley for many generations. He is a musician with the acclaimed group Manzanares and is also an accomplished actor with many films to his credit. During his 30-year film career, Manzanares has worked on over 50 films, from small independent projects to large studio blockbusters, including Bless Me Ultima and The Magnificent Seven.

Opposite: María Benítez is a dancer, choreographer, and director in Spanish dance and flamenco.

Benítez is best known for her work with the company she and her husband, Cecilio, founded and directed, Teatro Flamenco, which has toured Santa Fe and the world for more than 60 years.

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Painter Ed Sandoval is known for his colorful appearances in the Taos Plaza dressed as Zorro, riding his Arabian horse, Patron. A well-known painter of New Mexico landscapes, he was born in Nambe and lived in Tesuque and Truchas before settling in Taos, where he can often be seen painting in front of the Ed Sandoval Gallery.

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Mark Maggiori, who hails from France and now lives and works in Taos, spent years touring the world as lead vocalist for the nu metal band Pleymo. He is also one of the premier painters of the American West, and his highly vivid and detailed renditions of cowboys, Native Americans, expansive landscapes, and cloudblossomed skies have caught the attention of collectors, galleries, and museums from around the world.

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Taking Flight

s a child, Nedret Gürler witnessed countless airplanes taking off and disappearing into clouds.

She longed to fly jet planes like her father, a Turkish fighter pilot instructor and Air Force Base Commander who taught her about clouds, stars, the poetry of Rumi, and how to fix broken things.

As an adult, she is still mesmerized by wings and flight. “I have always correlated flying with freedom,” she says. “Watching a raven or turkey vulture soar in the thermals gives me such joy, it’s as if I am resting on their wings going up into the heavens where nothing else matters but the wind.”

Gürler immigrated with her family to New York in her early twenties, and she began documenting this new world with her Nikon camera. When she was hired by a wholesale rug dealer in Manhattan, she put her photography skills to work documenting the products while learning the business. In her first ten years in the industry, she forged connections with producers and sellers around the world, studied rug conservation, and eventually accepted a position with a retail rug dealer in Santa Fe. Then, in 2007, she started her own retail rug business, managing it successfully for a decade until she was sidelined with serious health issues.

After closing down her company to take care of her health, Gürler picked up her camera—almost as an intuitive form of healing—and began documenting the natural world. Although she had never been formally trained as a photographer, her experience as a rug conservator and dealer had honed her eye for detail, color, and composition. To develop her skills, she studied the images of her idols, nature and wildlife photographers Jimmy Chin and Tin Man Lee, absorbing all she could. Then she signed up for every online master class they taught.

She began by photographing snowflakes, sandhill cranes, ravens, hawks, turkey vultures, and the moon rising and setting.

She was also charmed by the hummingbirds in her backyard, and her close observations of their comings and goings helped her to understand the beauty of tiny things. “I’ve learned so many life lessons from hummingbirds,” she says. “I’m amazed by how fierce they are, how fast their wings and hearts beat, and how hard they work to just stay alive, flying thousands of miles to migrate between winter and summer habitats, then returning to the same feeders and backyards after completing such a harrowing journey.”

Another inspiration is the unpredictability of nature—a sandhill crane taking off in first morning light, a wing fluttering in front of her lens, a hawk hovering in midair—and she hopes her images carry the emotion of those instances. “You have to be ready,” she says, “but that moment when the shutter clicks is medicine for me, and I would like it to serve as medicine for others, as well.”

Despite struggles with her health, Gürler retains her optimism, stating unequivocally that her camera saved her life. Because of this, she chooses to use her lens to express how grateful she is for the life she has been given. “Beauty is healing,” Gürler states, “and we need beauty now more than ever.” R

BY CYNDY TANNER | PHOTOS BY NEDRET GÜRLER

I Am The Boss, lesser sandhill cranes performing a courtship ritual Previous pages: Over the Moon, Bernardo, New Mexico, snow geese and waning moon

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Mass Landing, sandhill cranes and snow geese

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Bark Butter Fest, a curve-billed thrasher at a feeder

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Lucky Crow, a rare leucitic (partially white) American crow amid a flock of European starlings

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Little Ms. Broadtail, a broad-tailed hummingbird pauses at a flower blossom

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Libby’s Hummer, a bathing juvenile hummingbird

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Near San Francisco Peaks, (Harry Leippe), bronze (top left); Red Hills - Jemez, (John Hogan), nine color etching (top right)

The Summer Gallery, (Carol Tippit Woolworth), oil on panel (bottom left); Prickly Poppies, (Sheila Miles), oil on canvas (bottom right)

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

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ANOTHER COMEBACK for MADRID, NEW MEXICO

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or Madrid, a small village with an identity based on artistic freedom and an economy dependent on tourism, the COVID-19 shutdown was especially punishing. The economic and social consequences depressed every aspect of community life. Yet, in typically defiant fashion, Madrid has not only survived it is also ready to thrive in a post-pandemic world.

Located on the scenic route between Santa Fe and Albuquerque, Madrid began as a coal-mining company town. Self-sufficient and unincorporated, it boasted its own hospital, police, school, sports teams, and entertainment venues. It eventually faded away in the 1950s, another forgotten ghost town until decades later, when Madrid was rediscovered by rugged iconoclasts who brought it back to life.

Madrid’s reputation as a source of original artwork was buttressed by its notoriety as a community of renegade freethinkers.

The reborn village blossomed under strong female and LGBTQ leadership. As one longtime resident puts it, “In Madrid, the only thing we don’t tolerate is intolerance.”

No surprise, then, that this interconnected yet individualistic community would be especially devastated by a quarantine that cut off the townsfolk from each other as well as the outside world.

Yet, not only did Madrid endure it is now poised to flourish.

Longtime galleries are bursting with inventories replenished by the enforced shutdown. There is no better proof of Madrid’s comeback than the opening of new galleries. All owned by local artists, they exhibit the variety of world-class talent and can-do optimism that distinguishes this feisty village.

A cooperative spirit encourages gallery owners to band together as entrepreneurs and as artists, comparing notes on theory and technique. Though fiercely independent as individuals, it was a collaborative community that raised the town from the dead in the 1970s, knowing that its multifaceted culture was its great strength. After all, this is a town that inspired visionaries as diverse as Abbie Hoffman and Walt Disney.

Celebrating this unique story is the smartphone app Oral History Tour of Madrid, which gives visitors a self-guided audio tour through the village’s audacious history. It allows listeners to hear Madrid’s stories, told by the people who live them. The “earwitness” tour is available on the Voicemap platform and can be purchased at a discount from select venues in Madrid.

The pandemic impacted this special place particularly hard, yet Madrid has persevered. With old favorites reinvigorated and new ventures underway, the next chapter of Madrid promises a bold return to form: born again, and better than ever. trendmagazineglobal.com

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INSPIRED BY OUR COLORFUL & CREATIVE WORLD Situated in the heart of Santa Fe’s historic Railyard district is Casa Nova, an exquisitely curated gallery-like space that celebrates the cultural wealth of Indigenous communities and is highly regarded for its bold and unique blend of color, art, craft, contemporary design and furnishings.

NEW COLLABORATIONS: New African Wax Prints fashion collection that supports sustainability in Kenya, incredible ostrich shell jewelry from Namibia, stylish Mexican texture-inspired purses, beautiful handmade Maasai-inspired beaded jewelry from Tanzania, and so much more. This is a wonderful collaboration of individual and community empowerment — Casa Nova’s “raison d’être.”

AFRICA • ART • ADORNMENT • BEAUTY • COLOR COMMUNITY • CRAFT • CREATIVITY • CULTURE CUTTING-EDGE DESIGN • ETHNICITY • FOLKART FORM • FUNCTION • FUSION • GLOBAL • HAND-MADE INSPIRATION • RURAL • STYLE TRIBAL • URBAN

the art of living and living with art

IMAGES COURTESY OF JASON STILGEBOUER

Casa Nova prides itself on recontextualizing and juxtaposing the extraordinary with the everyday in cultural fusion that epitomizes “The Art of Living and Living with Art.” It is a dynamic, up-market gallery often referred to as “a feast of eye candy.”

530 SOUTH GUADALUPE

IN THE HISTORIC RAILYARD DISTRICT

CASANOVAGALLERY.COM

505 983 8558

CHRISTOPHER THOMSON IRONWORKS

SCULPTURE - FURNITURE ARCHITECTURAL WORKS LIGHTING

WENDY MCEAHERN PHOTOGRAPHY

Much of Thomson’s inspiration comes from nature—looking out the shop window at Rowe mesa or hiking down to the wild canyon of the Pecos River below after work.

Christopher Thomson Ironworks 29 Metzger Dr, San Jose, NM 87565 studio/forge/gallery/sculpture garden visits by appointment christopherthomsonironworks.com Selected ironworks available at La Mesa Gallery, 225 Canyon Road

A cultural experience you won’t want to miss

Offering a unique collection of imports from around the world, including rugs, pottery, home decor, architectural elements, custom furniture and much more!

345 Camino del monte sol Santa Fe, NM 87505 (505)986-0340 www.Santakilim.com shop@santakilim.com

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“Mattress Mary” isn’t just Mary Domito’s nickname, it’s also her Brand. For 25 years she’s helped her customers get a great night’s sleep, first as District Manager with the nation’s largest retail mattress chain, then as owner of three Home Furnishing and Bedding Showrooms—with two stores in Taos and one store in the historic downtown district in Alamosa, Colorado.

Mary proudly shares: “I live in Taos and I’ve built a successful business that’s based on Friendship and Trust.”

Not only does Domito have comprehensive knowledge of Mattresses, Bedding, and Home Furnishings—she personally curates her products for superb comfort, quality, and value.

She recently introduced Double-M/Taos Brand™, her own Private-Label Brand of Mattresses and Sleep Products. These products are handcrafted in the USA at a fourth-generation, familyowned farm and factory near the rugged Pacific Coast.

She states, All Private-Label Double-M/Taos Brand™ products are backed by a 120-Night, Risk-Free Sleep-Guarantee and offer a generous 20-Year Warranty.

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FUNCTIONAL DESIGN

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FOR A NEW ERA

E

ven before the advent of COVID-19, architects had already begun adapting their designs to accommodate changes in the way we live today. Instead of the hermetically sealed buildings of the past, new design trends bring us brighter, lighter spaces that capitalize on fresh air, outdoor living areas, and f lexible f loor plans that can be adapted and revised to create privacy and separation when needed.

These principles find form at Santa Fe–based Autotroph Design Studio, where a team of architects creates attractive, livable, environmentally friendly spaces that look beyond the building sites to the larger world. The firm’s diverse array of projects includes “everything from private residences to arts venues to office buildings and entire communities,” says founder Alex Dzurec. “We’ve even designed a spaceship.”

The through-line in all of Autotroph’s designs, Dzurec says, is the goal to foster connections—between structures and their sites, between the sites and their surroundings, and among the people who live, work, and play in these spaces.

Achieving this goal entails adaptability, portability, and mobility, which apply to both the buildings themselves and the lifestyles of those who occupy them.

A recent residential project in the Galisteo Basin demonstrates that flexible living spaces can enhance the quality of life within a home, and a connection to the surrounding natural world improves the health and wellbeing of the residents. Named La Molina for the windmill that adorns the horizon, the home’s singular feature is an outdoor living room that also serves as the foyer for entry to the house, with other sections of the home connecting to the open-air space as well, which in turn provides a link to the site’s broad views.

“What really excited me about the project was the opportunity to connect the site to the larger landscape around it,” Dzurec recalls. “Rammed earth has a striated look and it resembles the rock formations in that area—abstract but not literal. Our goal was to make it seem as though the residence grew organically from the landscape, and to connect to the landscape through the sightlines.”

This process of integration—of house and landscape, of indoors and out—brings a contemporary aesthetic to ancient building methods and materials, providing an elegant and deceptively simple reinterpretation of how the built environment can respond to the demands of a changing world. R

BY NANCY ZIMMERMAN | PHOTOS BY PETER OGILVIE

Autotroph founder Alexander Dzurec at his Marcy Street studio. The space was redesigned to create a more flexible, organic working area.

Opposite: The open-air living space/entry frames a view of the Ortiz Mountains and the property’s namesake windmill. Despite the solidity of the rammed-earth structure, it is pervaded by an airy openness that blurs the line between indoor and outdoor living, showcasing the distinctive palette of materials—rammed earth, steel beams, and rusted corrugated metal—that give the structure an organic feel. This space is usable as a living room three seasons a year—or more during a mild winter.

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The design of the main house was flipped and rotated to accommodate two 500-square-foot, one-bedroom guest casitas connected by a breezeway/ open-air living space. The guest wing is thus a mini-version of the larger home. The deep overhang shades the windows from the summer sun.

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What was originally intended to be a purely architectural element was transformed into a trough-like water feature that works as an evaporative cooler. As the light winds flow across it into the breezeway of the outdoor living room the air is cooled, creating a kind of natural air conditioning. trendmagazineglobal.com

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The entire complex was designed to work with the homeowner’s existing art collection, with some pieces working as architectural features. In the owner’s bathroom, her tiled screen was incorporated as a room divider, while two pieces of ornamental metal tie the elements together. The tub was situated to provide a view of the on-site temple and wandering paddock path.

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The bathroom’s design includes a mitered corner window that opens up the view from the tub to the landscape beyond, creating the sensation of bathing outdoors. Sliding glass doors open onto a portal.

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The powder room features an African carved bowl that serves as a sink. The owner’s decorative bronze partition, which was created from a piece of metal found in one of the old mining camps in the nearby Ortiz Mountains, and the wall sconce were integrated into the design. A corner shelf displays a collection of small ceramics, part of a set of Meissen porcelain that is a family heirloom.

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Care was taken in the kitchen to allow room for the owner’s art pieces.

Autotroph took advantage of the recent piñon die-off resulting from a bark beetle infestation to reclaim the dead wood to warm up the compact but capacious space. The ceramic statues, which come from India, represent the ten incarnations of the god Vishnu.

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Owner Kristina Flanagan insisted on building a well-ventilated, well-lit stable without stalls so the horses could socialize better. Movable wall panels make it possible to create separation for horses that need isolation because of illness or injury, but otherwise they are free to move around. “Horses are herd animals, and they need to be able to interact with each other,” Flanagan says. The clerestory windows let in abundant light, while openings on both sides of the stable provide light and ventilation. Art on the walls brightens the ambience still further.

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Flanagan’s happy horses respond to her gentle training methods.

“Because they’re part of a herd, they see me only as that two-legged creature that brings them food. They entertain and care for each other, so I’m not a part of their social life. It’s a more natural lifestyle for them.”

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At dusk the guest casitas take on a cozy, welcoming glow. They’re situated a short distance from the main house to create separation and privacy for visitors.

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The northern façade of the owner’s suite is open to the vast surrounding vistas. This wing includes a bedroom, a bathroom, and a flexible living space that can function as a sitting room, an office, or a studio. R

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VIOLANTE AND ROCHFORD INTERIORS

© WENDY MCEAHERN FOR WOODS DESIGN BUILD

SANTA FE

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If there’s one word to describe Michael Violante and Paul Rochford, of Violante and Rochford Interiors, it’s partnership. Connection and collaboration permeate the core of who they are as a professional and personal couple, as well as the stunning interior commercial and residential spaces they create. Violante and Rochford expertly partner light with texture, color with material, imagination with expression, classic with contemporary. As designers with deep community roots, they blend their clients’ uncompromised

dreams for extraordinary spaces with innovative trends, furnishings, and imaginative arrangements to realize a space’s inherent potential. For Violante and Rochford, passion stems from the creativity that flourishes when working in partnership with other builders, designers, architects, and clients. “Connection in collaboration is who we are,” Rochford says. Violante concurs. “Our greatest joy comes from imagining, then seeing, all the individual pieces so beautifully and cohesively come alive.”

401 Paseo de Peralta | Santa Fe | 505-983-3912 | vrinteriors.com trendmagazineglobal.com

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SANTA FE BY DESIGN SANTA FE Just walking into Santa Fe By Design’s showroom will make you rethink what’s possible for your kitchen and bath. The array of faucets, fixtures, tubs, sinks, and accessories will spark your imagination, while expert guidance by a staff with decades of combined experience will ensure your dream becomes a reality. Whether you’re a contractor, designer, architect, or home decorating enthusiast, you’ll have assistance every step of the way, regardless of the size or complexity of the project. “It’s gratifying to help people navigate technical details they may not have thought of,” says owner Kathy Anne Fennema. “We work collaboratively with builders, designers, and homeowners so visions seamlessly come 172

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together.” Plumbing projects in particular must be thoroughly assessed to avoid problems, she says. “Taking high-end fixtures, such as faucets or showers, and planning how they’ll function in a space as it’s designed or built, is critical. We don’t overlook a single detail.” Being a woman in a traditionally male-dominated field is a point of pride for her, as is her longevity in the Santa Fe market. For almost 20 years we’ve delivered unmatched service, innovation, and project expertise to guide our clients through every step in the process, from thought to finish. I enjoy connecting with people’s dreams about their spaces, and being an important part of their home improvement or building project.”

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MEDITERRÁNIA “It’s like hunting for buried treasure,” Marc Galante says about his import business, Mediterránia. “To begin each day on the road with no clue as to what I might find in my travels is a never-ending source of excitement.”

When he founded Mediterrania in 1994, Galante’s mission was to source and restore original Spanish country antiques and make them available to a discerning clientele in the U.S. Due in part to the economic crisis of 2008, he eventually diversified. While many merchants and retail buyers responded to the recession by rushing to find the cheapest merchandise they could source and, in so doing, abandoned their brands and market niches, Galante took a different approach. He doubled down on what he had traditionally purchased, while increasing and expanding his product lines by setting up a furniture reproduction plant in Peru and becoming the largest dealer in the U.S. for Uriarte Talavera pottery from Puebla, Mexico.

Whether scouting small villages in Southern Europe for unrestored antiques or choosing decorative accessories from over a dozen countries, the inspiration for his products remains grounded in the belief that beauty is found in the details.

When asked what the best find he ever sourced was, Galante responds without hesitation, “My partner in business and in life, my wife, Elayne Gallegos.”

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RIGHT PAGE: @ WENDY MCEAHERN FOR PARASOL PRODUCTIONS

REPRODUCTIONS • ACCESSORIES • ANTIQUES • FABRICS

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SLEEP & DREAM LUXURY BED STORE When it comes to a great night’s sleep, bedding matters. Sharon Scott, owner of Santa Fe’s Sleep & Dream, has spent decades researching luxury mattresses and sleep accessories that promote rest and rejuvenation.

“The one thing I have learned along the way . . . is that nothing compares to or can replace a good night’s sleep for optimum health and wellbeing,” she says. Sleep & Dream is the culmination of that realization. Brands like Hästens, Vispring, Posh+Lavish, and CannaBeds, to name

just a few, are renowned for marrying exceptional craftsmanship to natural materials like cashmere, organic cotton, Shetland wool, hemp, horsetail hair, goose and duck down, alpaca, and silk, which are not only comfortable but also hypoallergenic and ethically sourced. An array of bedding accessories, including pillows, sheet sets, duvets, and topper pads as well as headboards, adjustable bases, and bed frames are also available to customize and complete the ultimate sleep experience.

510 W Cordova Road | Santa Fe | 505-988-9195 | mysleepanddream.com 176

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C R E ATE P L AY G A R D E N Gifts, Outdoor Living & Garden Accessories

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Passion of the Palate NEW MEXICO’S CULINARY INSPIRATION

Izanami restaurant at Ten Thousand Waves is one of many notable dining options in Santa Fe, which range from regional to eclectic, casual to high-end. At Izanami, chef Jose “Kiko” Rodriguez offers upscale izakaya dining, the Japanese version of a gastropub, with small plate dishes crafted from authentic Japanese products and locally raised meat and vegetables.

PHOTO BY PETER OGILVIE

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All Aboard

BY CHRISTINA PROCTER | PHOTOS BY ROBERT RECK

F

rom far-flung inspiration to local roots, fine dining in New Mexico is a carefully curated, ever-changing experience that’s only been emboldened by the pandemic. By now the word “resilience” has the tinge of last-season’s special, and as it turns out, many of the chefs in New Mexico aren’t talking about survival anymore, but resurgence. They sound like somewhat exhausted voyagers, ready to regroup after a surreal hiatus that was more positive for some than others.

From starting new restaurants to fine-tuning established ones, the following local chefs share a kind of vigor that is much like resurgence after a storm. They know each other, support each other, and are eager to be back at it, and not just for the food.

Before he left Bishop’s Lodge in June 2021, Peter O’Brien, a well-known local talent, talked about his tenure as executive chef of SkyFire, the destination restaurant at the historic Tesuque lodge.

His thoughts reflected the atmosphere that remains at SkyFire, as

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well as the general level of optimism of other local chefs.

“We don’t do stress. We have a lot fun in the kitchen,” he said.

This stress-free environment may not jive with popular perception of the manic energy required to keep a high- end kitchen going, but it’s the reality at SkyFire.

According to O’Brien, it’s the team that makes the place tick.

Dispersed during the pandemic, most employees have since returned. “We brought the band back together,” O’Brien said with a chuckle. Several members have been line cooks since graduating from high school and are now in their mid-20s. O’Brien said that they are primed for greatness, and that the goal is to make SkyFire a farm school for chefs.

Instead of the three-month marathon he normally runs to launch a new restaurant, for this one he had plenty of time to plan exactly what he wanted. He did so with his longtime friend and collaborator, celebrity chef Dean Fearing, a widely recognized pioneer of

Southwestern cuisine and author of The Texas Food Bible. The two met back in Dallas in the late ’80s, and as concept chef for SkyFire, Fearing, who remains with the restaurant in that capacity, was an inspiration.

Now, while able to seat hundreds in an expansive dining hall and veranda, the Bishop’s Lodge venue also provides cozy nooks of classic fireside New Mexico charm with a familiar balance of Hispanic and Native art and décor. As for the food, the Southwestern cuisine that Fearing popularized decades ago is even more rooted in local traditions, while at the same time reflecting contemporary culinary trends.

As for the past year, O’Brien spoke about the time he finally got to spend with his family, road tripping and relaxing. “I’ve had the best year I’ve ever had,” he admitted. “I was talking to Chef Mark Kiffin [of The Compound], and we were like, what does a person even do on Christmas Eve or New Year’s?”

But 2020 wasn’t all about relaxation, as hordes of restaurants faced extinction while others barely held on. For diners, going out to eat became a mere memory. Meanwhile, restaurant owners and their often-close-knit executive chefs gritted their teeth and steered an unprecedented course. continued on page 196

The intimate lounge at SkyFire restaurant at Bishop’s Lodge in Tesuque. Exceptional Southwestern-inspired dining is served both indoors (opposite) or outside on the sweeping veranda with expansive views. Top: Former executive chef Peter O’Brien with current pastry chef Kate Holland, whose breads and pastries, O’Brien said, “are off the chain.” trendmagazineglobal.com

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Chef O’Brien aims to keep his dishes, like this plate of seared sea scallops, creamed celery root, braised Swiss chard, and pomegranate gastrique, simple but flavorful. Choosing the dinnerware, each a unique piece by Kimmy Rohrs of Whiskey and Clay, is half the fun, he adds.

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Lavender blue-corn shortcakes with macerated strawberries and Chantilly cream, a seasonal dessert at SkyFire

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Elegant and intimate, Geronimo is one of Santa Fe’s finest restaurants, offering an eclectic menu that melds regional and global influences.

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Geronimo is located in the historical Borrego House, built in 1756 by farmer Gerónimo López. Its position on Canyon Road makes it the perfect spot to take a break from gallery-hopping. Top: Longtime co-owner Chris Harvey

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Geronimo’s Wagyu beef carpaccio with mustard-horseradish sauce, herb oil, and wild arugula

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Seared scallops with shellfish risotto, sweet peas, rock shrimp, lobster, premium crab leg, and sauce Américaine, with art by Ashley Collins, at Geronimo trendmagazineglobal.com

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The décor at Palace Prime pays homage to the omnipresent red of the former venue. Upgraded with sound-absorbent acoustic ceilings and reclaimed wainscot paneling, the interior design by Keith Johnston provides pops of color, and lighting by Michael Cornelius illuminates the room, which includes paintings by Steven Shores.

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Pastry consultant Deirdre Lane creates sweet delights for Palace Prime.

Her passion-fruit pavlova with fresh tropical fruit sits atop a black sesame purée.

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At Palace Prime, a simple side of broccolini with shallots and lemon zest

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Executive chef Rocky Durham and general manager Julian Martinez at Palace Prime lounge

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Thai-style smoked chicken wings with crab caramel, pine nuts, and scallions at Horno

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Horno’s char siu pork belly with pickled vegetables, watermelon, and hoisin

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TOP RIGHT: DOUGLAS MERRIAM

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Clockwise from top left: general manager Kristin Montoya of Santacafé; seating is also available al fresco; one of four dining rooms in Santacafé, which is located in an historical house originally built in the mid-1800s by Padre José Gallegos

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Mussels with lemongrass and coconut at Santacafé

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Santacafé’s sumac-encrusted Colorado lamb

Yet Quinn Stephenson, owner of Santacafé and Coyote Cafe, says that even during the peak of COVID-19 infections, business wasn’t a total bust. He was surprised at the tenacity of diners, even in winter months. “We had seven propane heaters along the edge of the cocktail rail at Coyote Cantina,” he says. “You don’t know sometimes until you try. We just didn’t give up.”

Rocky Durham, now executive chef of the revamped Palace Prime in Santa Fe, says the pandemic reminded him of what he loves best about his work. “Working in the kitchen, working with my crew—that absence was the most profound.” He filled the void by volunteering, working as a private chef, and honing the technical aspects of his craft. But ultimately, he says, kitchens are about “teamwork, connection, and camaraderie.”

“There was some comfort in knowing that we were all in the same boat,” says Chris Harvey, who co-owns Geronimo with executive chef Sllin Cruz. The two fretted during the pandemic, but they also came out inspired. “Geronimo has never closed its doors in 30 years, and we were closed for months,” Cruz says. “It was really scary, and most restaurants are still in crisis.”

In addition, many staff—particularly kitchen staff who don’t make nearly the same tips as servers—have been reluctant to return to possible health risks, questionable pay, and long hours.

Across the board, restaurants are struggling to meet the surge in customer demand with what Dale Kester, executive chef of Santacafé, describes as a “skinny team.”

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Still, Santacafé’s quiet, white-tablecloth charm conjures Old World Spain with a contemporary, Santa Fe flair. Despite the strain of his 95-hour work weeks, Kester says, “Summer is one of the best times to be a chef. The farmers are working really hard, and we just try to work with them and show off their ingredients.” It’s a 95-percent-from-scratch kitchen, where almost everything is made in-house at Santacafé, so there is no cutting corners.

Kester describes the restaurant’s core staff as “a family” that helps each other navigate an admittedly stressful, high-pressure industry. What motivates them, he says, is giving diners a truly memorable experience. “I think we all have a new appreciation for a nice dinner out,” he muses, “because you never know when that will be taken away again.”

In response to a flood in demand that’s straining small crews, restaurants have increased pay as well as meal prices, the latter being subject to inflation and the profound effects of the pandemic on food costs, particularly protein sources, which are up anywhere between 10 to 30 percent. Additionally, Harvey points out, rampant wildfires in California will cause increased wine prices. Across the board, restaurants have increased their prices in response.

At Geronimo, Harvey says they’ve also opened opportunities for shared assets for kitchen staff along with increased pay. “No one makes less than $17 an hour here,” he says with pride. “After 30 years this feels the best; paying 60 people, everyone making way above national average.”

Cruz and Harvey share a love for quality, and they’re two men As for the food, Martinez says, “We’re trying not to be fussy. who can’t help but chase what’s best and better. Since spring of We’re looking at well-sourced, cleaner cuisine. It’s expensive to get this year, Cruz has built a relationship with a family of fishermen great ingredients, particularly great protein. We don’t disguise that in Hawaii. He speaks with them every Tuesday to find out what with sauces and garnishes. Pan-roasted fish or a perfectly grilled landed that day and to select what could end up on one’s plate steak is simply delicious on its own.”

Friday evening. Like many Since executive chef Rocky restaurants, Geronimo sourcDurham took the helm earlier es meat and produce locally, this year, Martinez says the but Cruz does not hesitate to restaurant is getting closer to look further afield for such its initial vision. “We’re not ingredients as Kobe beef from leaning French or American, Japan. “I’m always researchyou know? We’re about unasing what’s new, what’s the suming, high quality ingrebest,” Cruz says. dients.”

Harvey also talks about Meanwhile, another pal in how they’ve responded to the this circle of chefs is David changed desires of diners.

Sellers, who marked the sumWith decades in the business, mer solstice in 2021 with the he’s seeing people really slow opening of Horno in Santa down for the first time. “People Fe. Occupying the building are seeing friends they haven’t that formerly housed Il Piatto, seen for a year,” he says. “So Sellers is expanding outdoor we’ve refocused on slowing the seating and coming up with experience down. We’re doing a whole new menu. “I’m kind two-and-a-half to three-hour of restless as a chef,” he says. seatings now.”

He’s also planning for the long For Julian Martinez, manhaul. “We want this to be a ager of the relatively new family business that can conPalace Prime in Santa Fe, tinue with our sons.” building a desirable workplace At a far smaller scale than is as important as creating an O’Brien’s restaurant, Sellers experience for diners. “This has a similar goal. “I’m excited industry has not been the best to create a family of employees for people,” he says bluntly. and guests again. I truly miss “There’s a lot of alcoholism, that feeling of having a house drug abuse, and addiction full of people celebrating food, problems, along with unsafe drink, and life.” environments that allow for The camaraderie extends Coconut macaroon banana cream pie at Santacafé sexual harassment. So, for between kitchens. “I think me, it’s about providing a poswe know we can count on itive place where we can learn and grow while being safe, undereach other,” O’Brien says. Durham concurs, saying that whether stood, and comfortable.” In addition to increased wages, he now it’s riffing on recipes, sharing staff, or running over spare aruoffers healthcare benefits to staff. gula or eggs when supplies are tight, the chefs have each other’s Palace Prime also offers a slower experience, but unlike backs. The diners hold up their end of the deal, which for now Geronimo’s adobe-style intimacy, it’s a more urban atmosphere. might mean showing a little more patience, compassion, and “When you walk into the space, it’s kind of palatial, regal, steel willingness to pay for what a meal is really worth in terms of food midcentury modern, with lots of color.” The hospitality makes costs and human labor. you feel special, from valet parking to a coat-check and warm wel“We work 12-to-14-hour days,” Cruz says. “You’re here. You come before being ushered to what feels like a private space. This don’t get to see your family. You just deliver the best you can. And includes some outdoor dining as well as the restaurant’s new pride we’re blessed, because we get a good response. In this industry, and joy: a raw seafood bar. Martinez is also excited about bringing you have to love what you do.” Meanwhile, what’s clear is that with in DJs and live performances, and he’s been planning Sunday Vino significant dedication on the part of chefs and owners, fine dining and Vinyl evenings that pair fine wines with well-aged tunes. in New Mexico is going somewhere. We’re all aboard. R trendmagazineglobal.com

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With its rustic tiled floors and patio seating, the restaurant has a French country charm that is cozy and inviting. Saveur Bistro is open Monday through Friday from 7:45 a.m. to 10:30 a.m. for breakfast, and lunch extends to 2:30 p.m. Offerings are available made-to-order as well as from a safe, served buffet. Desserts are equally inventive, ranging from decadent to refreshing, and include crème brulée, pots de crème, queen’s lemon and mocha cakes, and a variety of pies. If you don’t have time to relax onsite, Saveur also offers takeout.

Now getting ready to retire, Dee and Bernie believe it is time to pass the Saveur restaurant legacy on to someone who will maintain their high standards of excellence and commit to maintaining and expanding their vision. The new owners would take over a fair lease, an immaculate kitchen, and a dedicated customer base. Interested parties should inquire by calling 505-989-4200.

PHOTO: DOUGLAS MERRIAM

A

t Saveur Bistro, feeding people is not simply a business, it’s an art. Owners Dee and Bernie Rusanowski’s delightful restaurant in the heart of Santa Fe caters to carnivores, vegetarians, and vegans alike by offering a wide selection of dishes made daily from the freshest ingredients.

Quality matters at Saveur, so eggs are free-range and organic, salmon is flown in daily from Alaska, and everything—including soups and salad dressings—is made from scratch. Furthermore, all fruits and vegetables are treated to an anti-bacterial wash before use.

Not just a pretty table.

Photos: Top left, Kate Russell. Bottom, left: Boncratious

Fresh local ingredients, inspired fusion flavors, and excellent service. A Santa Fe fine-dining experience in an airy, contemporary space with a touch of industrial chic.

LUNCH Daily 11:00–2:30 DINNER Monday–Saturday 5:00–9:00 BRUNCH Saturday 11–2:30 Sunday 10–2:30 901 West San Mateo, Santa Fe Reservations 505-820-3121 midtownbistrosf.com

W

eldon’s Museum Hill Café is a favorite destination for

The restaurant is primarily known as a lunch venue, with eve-

locals and tourists alike. Situated on the upper level of

nings reserved for private parties, but Weldon now offers special

Milner Plaza, with a spacious patio and hundred-mile

dinners every Friday night during the summer. Running from June

views and surrounded by four distinctive, world-class museums,

through September from 5 to 7 p.m, they are extremely popular,

it has established itself as a place of casual refinement. Everyone

so early reservations are advised.

is welcome, no special dress code is required, and the menu is

The fact that the restaurant was forced to close last year gave

straightforward and uncomplicated. In the words of owner Wel-

Weldon the opportunity to do some remodeling. During that time,

don Fulton, it is “simple food, done well.”

he had it repainted, re-carpeted, and the interior layout redesigned

The menu changes with the seasons and features a range of

to include more plants and afford a greater degree of privacy.

items to satisfy all tastes, from meat and fish dishes to vegetar-

What did not change was “simple food, done well.” “People regu-

ian and vegan options. Fresh salmon is flown in daily, and food is

larly comment on how flavorful our food is,” Weldon says, “and

sourced locally when possible. There is also a good selection of

plates come back clean, which is really the best compliment we

local beers and an excellent wine list.

could wish for.”

museumhillcafe.net | 710 Camino Lejo | Santa Fe 87505 | 505-984-8900 200

TREND art + design + culture 2021

ROBERT MESA

WELDON’S MUSEUM HILL CAFÉ

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201

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A

urelia Gallery is a fine arts gallery founded by Romanian-born artist, Marius Mureșanu.

Inspired by the Bucharest cafes of his youth, Aurelia Gallery offers patrons and artists alike the creative experience of a true salon.

Located on historic Canyon Road, Aurelia Gallery is housed in one of the oldest adobe

structures in the city. Surrounded by two beautifully structu landscaped sculpture gardens, the gallery is a communityfriendly space where visitors and guests enjoy viewing exceptional paintings, sculptures, photography, prints, digital art, and more from US and international artists that are emerging or established in their respective artistic fields.

Aurelia Gallery 414 Canyon Road Santa Fe NM 505.501.2915 www.aureliagallery.com

Aurelia Gallery 414 Canyon Road Santa Fe NM 505.501.2915 www.aureliagallery.com

PHOTO BY JANE FILER

Jane Filer Primal Modern

Brigala, acrylic on canvas, 60"x84"

613, 619, & 621 Canyon Road Santa Fe, NM 87501

billhester@billhesterfineart.com BillHesterFineArt.com

(505) 660-5966