Art Connection - Fall '23

Humans have long connected with art in a very powerful way. Whether a painting, sculpture, drawing, piece of literature or a performance, art has the power to evoke memories, transport us to another time or place, inspire us, or spark an emotion. This issue of Art Connection explores that unique connection, first through brush strokes and then in our feature article on three-dimensional art. Finally, read about how the Celebration of Fine Art grew from dream to reality, and how it has created a passionate community of art lovers over its 34-year history.

ART CONNECTION By the Celebration of Fine Art

Vol. 2 Issue 2 Fall 2023


brushing with boldness

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editor’s WELCOME T he season of gratitude and joy has arrived. This time of year is all about family, friends and loved ones gathering together to celebrate all that is good and all we are grateful for. Our gratitude list always includes the wonderful connections we have forged with artists and art lovers from across the globe. We are so very thankful for the deep friendships and opportunity to experience the joy that comes from being surrounded by art. Our featured artist, whose work graces the cover, is familiar to many. From majestic mountain scenes to bold, backlit trees and dreamy city scenes, Matt Sievers brushstrokes and dramatic, purposeful marks invite the viewer in to his bold canvases. He is not afraid to take on im- mensely large canvases, but he also paints some fabulous little gems. Read about his journey to becoming an artist and what inspires him to spread the joy that can be found in his stunning landscapes and serene scenes. Next, discover the unique way in which we experience art through sculpture. Our three-dimensional artists allow us to interact and con- nect with art in 360 degrees. We spotlight four of our wonderful sculp- tors that help us see the world through their eyes. Curt Mattson shares the art of history and storytelling, Bryce Pettit invites us to appreciate the stories of connections shared through animals, Gedion Nyanhon- go embodies the human connection through his stone carvings, and Ryan Schmidt embraces the architectural elements of possibility. One of my favorite things about sculpture is that it is tactile, allowing you to both see and feel the art under your fingertips. Get a peek inside a magnificent live/work creative space. Carlos Page, man of steel, concrete and wood, shares his vision and passion for pairing traditional architectural elements with the natural land- scape oasis that surround his home studio in Cave Creek, Ariz. We invite you to discover his stunning environment where he creates his powerful works of art that grace homes and business across the globe. Comfort and joy. . .there is a saying that everything you want lies just outside your comfort zone. While that may be true for goals and personal growth, there is nothing better than a place that brings you a sense of comfort just by being there. The sense of community and connection at the Celebration of Fine Art is undeniable. The whole idea behind the Celebration was to change the way you feel about buying art forever, and we promised an “experience like no other”. The big white tents have certainly proven to be a place that delivers that and sparks comfort and connection for all who enter. Our hearts are filled with gratitude and joy, not just during this sea - son, but always. We love how a work of art can bring a smile to your face and spark a feeling of peace and comfort. Something we can all use more of these days. Please join us in person January 13 – March 24, 2024 to experience it for yourself.


ARTIST SPOTLIGHT: MATTHEW SIEVERS Discover what Matt uses to convey meaning and create a sense of place in each of his paintings.

CREATING CONNECTION THROUGH SCULPTURE The human experience with sculpture art is very dynamic––it impacts us different than other art forms and evokes an intriguing sense of connection. MORE SCULPTURE TO CONNECT WITH Discover other talented sculpture artists who will be at the Celebration of Fine Art in 2024. They span multiple mediums and subject matters. FROM THE ARTIST STUDIO: A CONVERSATION WITH CARLOS PAGE Carlos takes us inside his mixed-use property in Cave Creek, Ariz. and shares how this is a dream come true. CREATING A COMMUNITY AND SENSE OF PLACE From a dream to reality: how the Celebration of Fine Art has cultivated an ever-growing community of art lovers and friends.




Creating Connection Through Sculpture: How sculpture artists communicate in 3D.



4 Artist Spotlight: Matt Sievers


From the Artist Studio: With Carlos Page

On the cover: "Not Conforming" 48" X 60" by Matt Sievers



From the Archives: An early

drawing of the Celebration of Fine Art. See the story on p.14 for more about the history of the show.

CONTACT US Celebration of Fine Art 7900 E. Greenway Rd., Suite 101 Scottsdale, AZ 85260

480.443.7695 |

10 More Sculpture to Connect With: Discover more amazing three- dimensional works by some of the most talented Celebration of Fine Art artists.

Wishing you a joyful season, Susan and Jake Potje

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it open to interpretation. “I want to create work that if you hang it in your home, it’s reminding you of a special day, or your family or achieving a goal–––you relate to it in some way,” he said. “But if it’s a paint- ing of the Eiffel Tower or the Teton mountains and you’ve never been there, you won’t relate to it. I want to create more of the emotion of that place rather than have it be a replica of that place.” While Matt will often go to a spe- cific site for inspiration, he’s looking to capture the feeling of it perhaps through the light filtering through the trees, or the cast shadow of an object or the way the sun is setting behind a series of high-rise buildings. Leaving the locale somewhat ambig- uous allows nearly everyone to have their own experience with it. And this is what creates a sense of place in a space. “Art influences the feeling of a room and if you’re going to pay for it, you want it to create a sense of place that’s meaningful to you,” he said. “You want to have a piece that con- nects with you or brings you back to a special memory or feeling. True art collecting creates a microcosm and taps into an emotion.” Tapping into emotion is something Matt masterfully achieves through various techniques, but one of his favorites is contrast. “In the last couple of years, I’ve really started to change the way I paint to have marks that are soft against more bold, aggressive marks,” he said. “Through explorations of contrast, I can create paintings that are more en- ergetic and exciting while others are more subdued and not so busy.” Of course, what’s energetic versus

serene will vary from one individual to the next. But it’s that subtle ambiguity that connects people to Matt’s work and allows them to have their own emotional experience every time they look at it.

"Stairway to Heaven" 36" x 72" in oil

Matt Sievers explains his process to an art lover at the Celebration of Fine Art

Watch Matt's interview here.

shifted across various subject mat- ters from trees to desert landscapes, cityscapes to stormy mountains and even to the human figure. But even through the exploration of a diverse range of subjects, one thing that has never waivered is the undercurrent of emotion that he masterfully captures in each of his pieces. In fact, it seems to be emotion that compels Matt to paint. The emotion he’s experiencing will often dictate his subject matter, but more importantly, he strives to use emotion to convey meaning and create a sense of place in each of his paintings. “The mindset for every style I’ve gone through is still driven by emo- tion,” he said. “Each change I’ve made was about emotion. It gives a deeper meaning and connection to even things like a tree.” Because emotional connection to a place is unique to every individual based on their experiences, Matt opts not to depict specific places or land - marks in his pieces. Instead, he leaves

L ooking at his work and the passion that seems to emanate from him as he paints, you’d never guess artist Matt Sievers initially had his sights set on a career in business. It’s even more surprising after learning he grew up with a professional artist for a father. Still, being a goal-driven person, Matt was determined to find success in the business world. After earning his degree, he soon landed a sales position with General Electric, and it was off to the races. He learned quick- ly that hustle, long days and hard work would reward him with financial success. This drove Matt for a while, but over time, the cycle proved exhausting. He needed an outlet. So, he turned to the canvas. “I'd be completely exhausted by the time I’d get back home at night,” Matt said. “But, I'd start painting and all my energy would come back to me even though I was beyond exhausted.” Noticing the positive effect paint-

ing had on him, it wasn’t long before he realized his career in sales wasn’t sustainable over the long term. He decided to leave that gig behind and negotiated a deal with his dad to go in on a gallery together in Scottsdale, Ar- izona. Operating the gallery provided Matt the opportunity to leverage two of his skill sets: sales and art. It was through that experience that Matt gained the valuable feedback and confidence he needed to pursue art as a full-time career.

The next leap for Matt was applying to the Celebration of Fine Art. He was accepted and within that first year, he realized it was possible to find suc - cess as an artist––and have a deeply meaningful and rewarding career to boot. That was an important turning point in his journey. It was time to take another calculated leap. Matt decided to close the gallery and go all in as a professional artist, and he never turned back. Exploring emotion Over the decades, Matt’s work has

Above: Matt Sievers works on a large- scale landscape from his studio at the Celebration of Fine Art. Below: "Sunset on the Rockies" 30" x 60" in oil.

Taking a calculated leap of faith “As I was building that [the gal- lery], it made me realize people liked what I was doing and that the paintings I was creating were appreciated,” he said. “There was no looking back from there. I started to connect with people through art. I found my voice and my style through art. That was when I knew the rest of my life was going to be in the art world.”

“True art collecting creates a microcosm and taps into an emotion.”

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a world he grew up in and became very passionate about, and sculpture gave him an avenue for sharing that passion and joy with others. “It was the tactile nature of the medium and the permanence,” said Curt, sculpture, oil and watercolor artist. “The idea of creating work that would impact people for generations to come and could be experienced in three dimensions was just too much not to try.” Though Curt also paints, as he be- gan sculpting and even studying how and why different art impacted him, he noticed that sculpture simply offers a more emotional and rich experience. “When you tell a story about the horsemen and women of the West, sculpture allows you to see and experience it with an intimacy that is only available because of its tactile nature,” he said. “Looking can certainly grab our emotions, but being able to touch the surface and to put yourself in the same place as the hands that modeled the piece in a very literal way, makes it a more emotional experi- ence. That ability makes the time spent with the piece profoundly more meaningful.” Using the medium as the message Communications theorist Marshall McLuhan famously said, “The medium is the message,” and for sculpture art- ists, their chosen medium and subject matter are foundational to the story they are aiming to convey. Artist Bryce Pettit uses specific ani -

be finished in brighter colors whereas a sculpture meant to have a quieter feel, will have soft and warm tones. But the finish and subject matter al- ways come after Bryce has determined the message or emotion he’s looking to express. “I can tell any story using animals as the medium,” Bryce said. “To me, animals are the perfect subject that you can tell any story, that you can express any emotion, and have it be the perfect metaphor for our human connection. The amazing diversity of animals in the world gives me an endless palette with which I can explore artistic compositions and express any idea.” For example, because eagles often evoke a sense of patriotism and majesty, Bryce uses those built-in emotions to express a feel- ing of power or strength. In contrast, he might use the softer shapes of a fox to tell a quiet story or the whimsical appearance of a jackrabbit to express fun. Sculpture artist Gedion Nyanhongo takes a slight- ly different approach. He lets the material tell him

creating connection



Sculpture garden featuring works from Gedion Nyanhongo and Ryan Schmidt at the Celebration of Fine Art

O n the surface, it seems what constitutes sculpture art could be easily defined. But, peel back the layers, and you discover “sculpture” is far from a fixed term. In fact, the scope of it has evolved significantly since the start of the 20th century. Prior to the 1900s, sculpture was largely representational, often por- traying or imitating human figures, animals and other inanimate objects. Sculptures in these earlier centuries also typically adhered to a specific size, shape and mobility. In more recent decades, artists began to challenge the traditional rules of sculpture, com- pletely redefining what constitutes a sculpture. As a result, we now have non-representational, abstract and kinetic sculpture that invite viewers to experience this three-dimensional art form in new ways. Techniques and mediums have also expanded well beyond the carving and modeling of stone, metal, wood and clay, to now include near infinite forming methods and alternative materials. Indeed, there is much to explore when it comes to sculptural art, whether it's through the time-test- ed traditional methods and materials, or modern innovations and interpre- tations. Regardless of the technique, materi- al or period in which the sculpture was formed, however, one universal truth

has remained: sculpture is a powerful medium for storytelling. Documenting history through sculpture The history of sculpture remains somewhat disputed, but there’s little disagreement about the importance of the clues relic sculptures have provided about various cultures and periods throughout history. In fact, the two oldest-known sculptures, Löwen- mensch, which translates to “Lion Man”, and Venus of Hohle Fels, helped archeologists stitch together stories about that era and the Aurignacian culture that occupied parts of Germa- ny approximately 40,000 ago. From the figurative sculptures that

of cultures, animals, places, and past civilizations, the three-dimensional and tactile nature of sculpture offers us a way to connect in a much differ- ent way than afforded by other art forms. Even in centuries-old sculptures, the messages and emotions imbued in those pieces have managed to stand the test of time. There’s a permanence to sculpture and that immutability is part of what attracts many artists to the art form. The idea of preservation and per- manence is what drew artist Curt Mattson to sculpture. He wanted to leave a historically accurate record of the buckaroo, and the horsemen and horsewomen of the West. It was

mals, materials and patinas to convey messag-

es and emo- tions, as well

as accentuate feelings. For in- stance, a playful, fun piece might

primarily domi- nated the Meso- lithic period to the monumental sculptures of pha- raohs and rulers in Egypt and Mes- opotamia, and the petroglyphs of North America, sculptures have served as a bridge of sorts between modern-day and bygone societies. Not only do they convey the stories

“The idea of creating work that would impact people for generations to come and could be experienced in three dimensions was just too much not to try.” -Curt Mattson

Top right: "Grace- ful Bird" by Gedion Nyanhongo. Bottom right: Gedion Nyanhon- go, pictured in the Celebration of Fine Art scupture garden, chisels away at Zim- babwe spring stone to reveal the story within the stone. Bottom left: Stain- less steel sculpture by Ryan Schmidt.

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what it is meant to be. As a subtractive sculptor, Gedion chisels and carves the stone away to reveal the story––and that story is typically about love, family and human connection. “Before I do anything, I look at the natural form of the stone and I respect that in every stone there is a living spirit that needs to be liberated,” he said. “The only way to do that is to start with the natural form––to respect the stone and get the vision of what I see in that stone.” Choosing stone as his medium was very intentional. Not only did Gedion want to use a material that was native to his country, Zimbabwe, he also saw it as an important tool for capturing and preserving stories of community, human relationships and the sacred- ness of life––themes central to Shona sculpture––for generations to come. “Stone outlives all of us,” he said. “I chose that medium because I wanted to mark where we are as human be- ings today. Instead of writing a book, by making sculpture, it will be passed on to future generations.” Creating a sense of place Beyond the stories of the human race, sculpture can also create a sense of place. They can create a memorable arrival experience at the entrance of a private residence, communicate the essence of a community in a public installation or become an iconic des- tination.

Among the sculptures that become destinations, many are considered monumental sculptures. Though the term monumental is commonly associated with larger-than- life sculptures, they aren’t al- ways on a large scale. Indeed, these can be monuments, but they can also include architectural ornamentation, public sculptures, fountains, and stained glass installa- tions. Monumental sculptures might convey pervasive so- cial and philosophical ideas of the time, memorialize a prominent person or im- portant event, complement surrounding architecture, or serve as a majestic and convening landmark. In whatever form, monumental

"Summer School" by Bryce Pettit, bronze

the top, I may not have been inspired to dream big,” he said. “To me, monu- mental work is full of emotion that is mostly experienced by engagement firsthand. These sculptures create a memory of emotion that ties you to that time and place.” The scale of the St. Louis Arch not only inspired Ryan to dream big, but he was also struck by the concept of strength in the triangular form. It was a lesson in structural load, balance and beauty. “I got to go into one of the legs and see how the interior was made,” he

said. “There’s a lot of history that struc- ture made with its triangular form, and most of the work I do now is in a triangular form on a curve.” Ryan uses a mix of casting by way of the lost-wax method, as well as fabrication of sheet metal, drawing on his fascination with origami in which the two planes of the metal are folded, stretched and manipulated in unthinkable ways. He often refers to his work as “atmospheric sculpture” because it captures the properties of the sun, water, clouds and seasonal landscapes that surround it. This is precisely why

taneously, reflections of the surrounding environment twist with each bend in the sculpture.” Still, achieving the level of smooth reflectiveness is a

sculptures have an extraordinary way of connecting with humans––tapping into our emotions or evoking a sense of connection to a place. Some are awe-inspiring, leaving an imprint on us that lasts a lifetime. In fact, it was a visit to a monumen- tal sculpture that forever changed the trajectory of artist Ryan Schmidt’s art career. It stirred something in his soul, sparking an emotion that he’d never forget. “If I had not visited the Gateway Arch in person, and rode 630 feet to

"Praise" by Ryan Schmidt, stainless steel

“To me, monumental work is full of emotion that is mostly experienced by engagement firsthand.” -ryan schmidt

labor of love. In fact, this part of the pro- cess can take three to four times longer than the building of the sculpture. “When you’re all done, the mirror finish, the reflective qualities and interaction of that as you walk around the piece, makes the time worth it,” he said. “The reflection changes as you move around it––and that is something that has stuck with me.” The interactive quality of sculp- ture, in which viewing it becomes a dynamic activity, is part of what draws humans to this art form. The piece can change as the viewer moves through a space or as time pass- es. It’s tactile and inhabits space in much the same way as humans––this enables us to identify with it and it makes a statement. “Sculpture has a certain weight that lends to the statement being made that cannot be replicated in two-di- mensional work,” Curt said. “Each is very capable of making impactful statements, but sculpture, even in a small scale, will demand the viewer’s attention.”

Ryan was drawn to stain- less steel as a medium–– because of its reflective qualities. He wants view- ers to be uplifted by the free-flowing curves of his pieces and to transcend to a place of healing and thoughtfulness by way of the outside world reflect - ed in his sculptures. “The reflective nature of stainless steel gives a different perspective as you walk around the piece,” he said. “Simul- Far left: Clay rider in prog- ress by Curt Mattson. Middle: "View from the Top" in bronze by Curt Mattson. Left: "Mother and Child" in spring stone by Gedion Nyanhongo. Right: Ryan Schmidt buffs stainless steel.

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More Sculpture to connect with talented sculpture artists from the celebration of fine art





1. Troy Axelrod 2. Laura Lee Stay B 3. Terrell Powell 4. Dan Romero 5. Caleb Siegler 6. Eric Holt 7. Parker McDonald 8. Randy Berkeley 9. Mary and Joe Gid- dings-Axton 10. David Barkby 11. Jim and Matt Budish 12. Jeremy Firehamer 13. Seth Fairweather












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Celebration of fine art

Colin Branham Sequential Order, Acrylic 72 x 50 in.

Jan. 13–Mar. 24, 2024 | Open Daily 10am–6pm Loop 101 & Hayden rd, Scottsdale, Az 480.443.7695 | TICKETS - CELEBRATEART.COM Experience in Person:

Shop NOW: 100 Artists | 24/7/365 Visit

Learn about our juried artists, view their work and add to your collection by experiencing our show virtually at .

Where Art Lovers & Artists Connect

from the artist studio

create his work. Carlos created an open-air work- shop area that allows for ventilation since his work involves a lot of heat and combustion. But being out in the elements also inspires his work. He’s immersed in the sights and sounds of the desert flora and fauna, and within eyeshot of his workshop is a view of Black Mountain––all of which has influenced his work. Being in Arizona has also influ - enced the look of his work in another, slightly unexpected, way. “Back East, I had access to very old steel that had been weathered by the elements from exposure,” Carlos said. “Here in Arizona, that weather- ing doesn’t happen. The territory is newer. We’ve been building for less amount of time and the weather is not conducive for steel to be corrod- ed much. It just creates a superficial rust. So my work has changed its look, to a point.” Though he brought as much of this old steel with him to Arizona as he could, he’s nearly exhausted his supply. Now, he has to recreate a lot of those textures through welding, grinding and cutting. But the land has also provided a few gifts, like massive tree stumps and roots, that Carlos plans to incorporate into his work somehow. Inviting harmony, contemplation and inspiration Amid the lush trees, shrubs and cac- ti, several of Carlos’s sculptural com- positions emerge from the ground. Though they’re composed of steel and concrete, they feel as though they’re a natural extension of the desert––and that’s not by accident.

tion space that would also provide an inviting escape for visitors. “As this progresses and takes shape, and the trees get bigger, I think it creates a sense of balance, harmony

A conversation with carlos

Carlos Page's studio in Cave Creek, Ariz.

M ixed media artist Carlos Page has spent nearly his entire lifetime in various metropolises. He was born and raised in Buenos Aires, Argentina, apprenticed in San Francisco then eventually moved to New York to con- tinue his studies and begin his career. These urban environments instilled in him a love for the materials you see in his work today: steel, wood and

concrete. Now, however, Carlos has traded the hustle and bustle of city life for the tranquility and serenity of the Arizona desert. Still, his love for steel, wood and concrete persists, so it isn’t any sur- prise that these materials would find their way into the making of his home and art studio. “I love architecture and engineering,

and part of my passion for working with steel comes from the fact that I associate it with those two,” Carlos said. “We built our cities, big and small, with steel. A lot of our civilization is based upon the use of steel.” Carlos’s love of architecture, en- gineering and even placemaking shines through not only his work, but also his recently built art studio and showroom, which he designed himself.

age and more specifically, properties that were zoned for mixed use. I want- ed to have plenty of space to make noise as I often do when creating my work. This place fit the bill.” Of course, when Carlos moved to the area, there wasn’t as much devel- opment surrounding him, but as the Valley continued to sprawl to accom- modate growth, he made plans to create some seclusion using green- scaping. “I wanted to create a

Carlos Page at work.

and peace––an environment that is inviting to contemplation and to see the work that is going to be exhibited,” he said. “It’s kind of a break from the commerce that surrounds.” He’s devoted a lot of time and ener- gy to creating somewhat of a botanic garden, and now that he’s nearly

Building the vision “The idea was always to have a place where I could live, work and show my work,” Carlos said. “So, this is kind of a dream come true. But it’s taken nine years and counting to get it.” Part of that vision includ- ed creating a place that was somewhat of an escape from the bustle of daily life and the surrounding city. As such, Carlos chose Cave Creek for his stu- dio, because at the time, there wasn’t much aside from desert terrain in sight. He also knew the town had a robust art commu- nity and liked that it was close to the Celebration of Fine Art. “Economics played a part too,” he said. “I was looking for acre-

“The idea was always to have a place where I could live, and work and show my work."

green fence around the perimeter precisely to allow people to come into a different world from what’s around here, which is mostly business,” he said. “With a lot of care and wa- ter, the trees are growing and that environment is being created.”

done, Carlos is ready to start reaping the rewards of the harmonious and inspira- tional space–– and tap into the creative

Through his artwork, Carlos aims to bring together his love of the urban experience with the natural world. He carried that same vision into the design of his studio, which, inciden- tally, uses the same materials as his artwork: concrete, wood and steel. While Carlos created the studio in part to work on larger-scale pieces, his bigger vision was to have an exhibi-

energy that has now been freed. “I have a lot of roots and shapes that are waiting for me to get to,” he said. “I don’t know exactly how it’s going to look or what it’s going to be, but I feel really good about it. Having closed this chapter, a new one opens up.”

Creating space to create This special slice of desert already housed a charming 1970s log cabin, which, after some restoration and renovation, Carlos turned into his living quarters. Aside from the cab- in, however, the rest of the land was relatively untouched. So, his first order of business was building an area to

Watch Carlos's interview here.

Steel & reclaimed wood, 44" x 33"

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" I was introduced to the Celebration in 2012 and coming regularly over that time every year, I’ve discovered a whole new world. I’ve come to know a lot of the artists and I’ve really come to learn about art. When I walk through the doors now, I bubble. I enjoy the people I’ve met and appreciate the differences in art, and that it truly is part of their soul. It’s adding to me as a person. I get a lot of joy here. I feel like I’m coming home." -Wendy Nickel

creating a community and sense of place

of land have been devel- oped to ac- commodate growth. Any move can come with trepidation and won- dering if the community will follow, but one thing has become clear, it’s never been about the location. It’s this sense of place we’ve been able to

Painting by of the Celebration of Fine Art by Michele Stapley

T he “big white tents”. Throughout the decades and several location changes, our signature white tents have become somewhat of a calling card for the Celebration of Fine Art. And while they may serve as an im- portant landmark, these tents are so much more. They’ve served as a home away from home for hundreds of artists over the course of our 34-year history. They’ve been a place of respite from the chaos of everyday life, a place of joy, inspi- ration, camaraderie, connection, and friendship. For some, they’ve provided a place for quiet contemplation, and for others a place to recharge the soul. And while these tents have been many things to many people, it’s never really been about the space. It’s the community inside these tents that has created a sense of place and the ethe- real magic that seems to be coursing through it. Though each experience is unique to every individual––artist and guests alike, one thing we’ve come to recognize over the years is that this show has an uncanny ability to uplift nearly anyone who passes through the doors. This has been universal across individuals of all backgrounds and ages. Year after year, we overhear

the chatter in the tent, see the expres- sions on peoples’ faces and receive handwritten notes expressing this sentiment. What is it about the Celebration of Fine Art that makes it so uplifting? We like to think it’s the collection of magical components that have come together under one roof––the tangi- ble and intangible: the exquisite art, artists, and art lovers, as well as the creativity, beauty, love, and a spirit of connection and discovery. There’s a sense of excitement as art lovers discover a new piece that speaks to them in some way or swap stories with artists about shared expe- riences. Artists partake in that excite- ment as well through collaboration with one another, discovering a new technique or forming a relationship with a new collector. This excitement was palpable that very first day we opened our doors in February 1991 and it has persisted ever since. The making of a community Bringing the Celebration of Fine Art to fruition was not without its challeng- es. It was something that had never been done before and to carry it out, it required a lot of faith from a whole lot

duce a one-of-a-kind experience to Scottsdale, but what we didn’t realize at the time was that what we were really building was a very special community. The artists during that first year were asked to do something relatively unheard of––make a com- mitment to be available at the show daily for weeks on end and create their work on-site. Their work also had to be of high quality. As it turns out, this model attract- ed––and continues to attract––a very special breed of artists: talented, wel- coming, open, dedicated, collabora-

"The word ‘celebration’ is the perfect title. We celebrate not only the art and the artists, but all of the people who love to absorb art, see art, and listen to the artists. If you come regularly, you get to meet people and hear their stories and what they’re interested in. You learn so much every week you come here about what goes into the art, their motivations, etc." -Carol and Ned O’Hearn

create in any locale that keeps this wonderful community alive and coming back year after year. Our hearts are filled with gratitude as we reflect back over the years of this unique and happy community and we look forward to celebrating for many more.

Clockwise from top left: Advertisement from 1994. Top right: Jake & Susan Mor- row Potje with Ann & Tom Morrow at the Celebration of Fine Art. Bottom right: Original drawing of the Celebration of Fine Art.

Creating a true sense of connection Over the years, we’ve also seen art- ists band together to support one another and the entire Celebration of Fine Art family––staff, collectors, and art lovers––through challenging times and to celebrate significant life moments. There have been countless collaborations between artists and life- long friendships that have emerged from this magical community. There is a true sense of connection in these tents, but what’s amazing is that spirit seems to continue even after the tents come down every March. Since our first show in 1991, we’ve moved to various locations as parcels

tive, supportive, and big hearted. From this, combined with the type of visitors the Celebration of Fine Art attracted, emerged a beautiful and supportive community and atmosphere. By year two, the number of artists and art lovers who returned, along with the growth in new guests proved that people were craving a welcoming, joyful place to experience and share exceptional art. For the artists, the Celebration of Fine Art also became a place where they could engage with collectors directly and be fueled by the level of talent and creativity of their peers in the tent.

of individuals. The city of Scottsdale, cham- ber of commerce, artists and visitors, to name a few, took a big chance on this show. No one quite knew what to expect, but they believed in the vision and the potential. We knew we were attempting to intro-

"We’ve been coming here for about 10 years, and every year we look forward to the new artists. We like to celebrate the artists’ creativity–– coming to the Celebration of Fine Art is one of our favorite things to do every March. We say we’re returning to our happy place." -Linda Nudd

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SAVE THE DATE The Celebration of Fine Art returns to Scottsdale January 13 – March 24, 2024 Keep in touch and shop for your favorites any time at!

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