In this issue of Art Connection, we explore the rich story, spirit of deep human connection and heritage that lives in every Todd Paxton piece, whether sculpture or painting. Also discover how art impacts the brain and what it is that connects us to art. Then venture inside artist Beverley Wolter's studio, a place that has become her space for quiet reflection and rejuvenation. Finally, we pull back the curtain on the 2027 show, giving you a sneak peek at the artists coming to the tent this year! Enjoy!
ART CONNECTION By the Celebration of Fine Art
Vol. 3 Issue 5 Summer/Fall 2026
SCULPTING HUMAN CONNECTION
the soul connection of art
editor’s WELCOME T here is growing research confirming what many of us have always known in our hearts—that art is good for the soul. Whether we pause to admire a painting, lose ourselves in a beautiful piece of music, or stand before a sculpture that seems to speak directly to us, something remarkable happens. We slow down. We reflect. We feel. Art has the unique ability to awaken emotion, spark memories, inspire hope, and remind us of our shared humanity. We witness this every day during the Celebration of Fine Art. Time and again, we see visitors moved by a painting that captures a cher - ished memory, a sculpture that stirs emotion, or a conversation with an artist that transforms the way they experience a work of art. Those moments of genuine connection are what make the Celebration so extraordinary. As you turn the pages of this Summer 2026 issue of Art Connection, we hope you discover your own soul connection through the stories that unfold. Our featured artist, J. Todd Paxton, shares a creative calling that be - gan early in life and never let go. His deep respect for Native American culture is reflected throughout his sculptures and paintings on metal, where mystery, storytelling, human connection, and quiet reflection come together in works that invite viewers to look beyond the surface and connect with something timeless. In “The Soul Connection of Art”, collectors reveal the deeply personal reasons certain works become part of their lives. Some describe love at first sight, while others recount the slow, undeniable pull toward a piece they simply couldn't forget. Artists also reflect on what inspires them to create work that speaks from the heart, offering a glimpse into the passion and purpose behind every brushstroke and sculpture. You'll also step inside the inspiring studio of Beverley Wolter, whose lifelong dream of creating art in a space that feeds the soul has be - come a reality. Nestled in the heart of Scottsdale, her studio is filled with the natural beauty and desert light that continually influence her work and remind us how our surroundings can nurture creativity. As we look ahead with great excitement to the 2027 Celebration of Fine Art, January 16 through March 28, preparations are already be - ginning. In late November, the familiar white tents will once again rise from the desert floor, ready to welcome nearly 100 artists who will transform the space into working studios and galleries. We look for - ward to welcoming you back to experience something that cannot be replicated online—a genuine connection with both the artist and the art. It is in those moments, when creativity, conversation, and emotion come together––that the true soul connection to art is found.
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The Soul Connection of Art: An exploration of what draws us to art
14 7 WAYS ART IMPACTS YOUR BRAIN: Artist Trevor Swanson boosts his neuroplasticity through creative problem solving.
With gratitude, Susan & Jake Potje
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ARTIST SPOTLIGHT: J. TODD PAXTON Meet the sculptor who aims to spark human connection through story and sculpture.
THE SOUL CONNECTION OF ART: WHAT DRAWS US TO ART? Sometimes the connection is instant––like love at first sight. Other times, the connection takes time to build. Whatever way it happens, art somehow finds a way into the soul...and when it does, it's powerful.
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THE ART<> BRAIN CONNECTION Explore the seven ways art positively impacts your brain!
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Artist Spotlight: J. Todd Paxton 4
FROM THE ARTIST STUDIO: A CONVERSATION WITH BEVERLEY WOLTER Discover how Beverley's desert studio inspires her work and feeds her soul. THE STORY BEHIND THE SCULPTURE Read the compelling story behind J. Todd Paxton's "Young Warriors Run to War, Old Warriors Fight for Peace" sculpture.
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A SNEAK PEEK INSIDE THE TENT Catch a glimpse of some of the 2027 artists!
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On the cover: "Young Warriors Run to War, Old Warriors Fight for Peace", J. Todd Paxton
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ART CONNECTION DISCOVER NEW AND CONNECT
From the Artist Studio: Beverley Wolter's art studio has a special connection to the desert.
CONTACT US Celebration of Fine Art 7900 E. Greenway Rd., Suite 101 Scottsdale, AZ 85260
480.443.7695 | info@celebrateart.com celebrateart.com
"Every work of art begins as a conversation between the artist and their soul. It isn't complete until someone else feels it." -Susan morrow potje
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it quickly became a defining turning point. Through the foundry, Todd got to col - laborate with other artists, further hon - ing his sculpting skills with each proj - ect. The foundry also brought another opportunity: it put Todd in the center of the rich cultural heritage of Ch’ini’li, a vibrant Navajo Nation community. “We lived there for eight years, and it was fascinating, because I gained friends and got to be around the culture enough to understand the language just enough to realize that I don’t understand.” The Native American culture and way of life captivated Todd. It held mys - tery and intrigue. They thought about things differently and presented an alternative way of looking at life. And to Todd, that sense of mystery offered an invitation to ask deeper questions, to explore and even to look internally–– something he believes artwork should also evoke. “In art, I think mystery is important,” he said. “To discover something. To ask, what is there? What am I not seeing? What does this mean? Those types of questions and that sense of mystery en - gage people, and the Native American theme inherently has that mystery in it to me.” J. Todd Paxton works on a clay sculpture.
T here’s an all-consuming energy that radiates from J. Todd Paxton’s artwork. Perhaps it's the sheer size or attention to detail of his sculptures, which often depict Native American warriors. Or, it may be his uncanny abil - ity to capture the soul through the eyes of his portraits. There’s a sense of mystery that draws you in to these stoic figures––that com - pels you to learn their story. And as you move in closer, the energy envelopes you and there’s almost a magnetic connection. Though it can be hard to make sense of this connection initially, especially when it’s an eight-and-a-half-foot-tall Crow warrior, for example, you realize that this sculpture embodies all of the emotions, hopes, fears, worries, dreams and desires that course through all of us. And it’s that moment of connection–– that realization of the shared human experience, seeing yourself in that warrior and feeling seen in some way, too––that Todd is after. For him, that connection starts with the story. “I like stories that are human,” he said. “Not of any one particular culture, but something that we all think about and that we can have a connection with. A lot of my pieces have to do with growth or the lessons that I learn––the feelings
of life.” Though much of his work is told through the rich stories embedded in the Native American culture, his own journey to becoming a professional artist has significantly influenced what emerges from his hands. A calling that wouldn't let go Todd was naturally drawn to art at an early age. In high school, he recalled taking every art elective so many times that his teacher started giving him free rein to create whatever he wanted––a gateway to his inventive spirit, perhaps. In college, he narrowed his artistic focus to graphic design and illustration. And though he went on to work in that industry and a few others for several years, art was always in the back - ground––occupying much of his spare time and most of his heart and mind. Todd continued painting and drawing, but had yet to venture into sculpting. It wasn’t until an artist friend introduced him to renowned sculptor Ken Payne, who took Todd under his wing, showed him the ropes, and, along the way, lit an inextinguishable spark. Eventually, that fortuitous introduc - tion led to another opportunity. In 2007, when Ken was ready to sell his foundry in Chinle, Ariz., Todd saw a pathway into sculpting. It was a leap of faith, but
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from connection to reflection Layering cultural reverence with the shared human experience brings depth to Todd’s work, and it’s also what en - dears so many to his pieces. “When you tell the story through that lens of the Native American, not only are you immediately attracted to it, but then you read the story and realize that, ‘Hey, I’m like that.’ And then we all come together instead of it being a divisive thing,” he said. “I love that art brings people togeth - er and we all have experiences that we share. If my art can tell a story like that, it makes me happy.” And there have been many in - stances in which his art has evoked connection and reflection. “One time, I had my Crow Warrior, that’s eight-and-a-half-feet tall, in a gallery on a pedestal, so he was tow - ering over everything,” Todd said. “I walked into the room and these two older Spanish ladies were looking at it and crying. One of them pointed to the story about why I had done the sculpture and said it meant so much to her. She said it was what she needed. She was crying be - cause of her connection with this big, giant warrior. And she thought, ‘I am this warrior.’ It was powerful. And I thought, if I never make any other art for the rest of my life, that was worth it. That one interaction.” In that moment, art fulfilled its highest calling: it reflected someone back to themselves. While the Crow Warrior explored themes of mental and spiritual preparation before a battle, which could also mean facing personal battles, one of his more recent sculptures focuses on the wisdom and growth that come with age. “When a man is young, he has limitless energy and boundless op - timism,” Todd said. “Any righteous cause is worth fighting to the death for. Time and experience lead the old warrior to think ahead. While still ready to fight, the experienced warrior seeks to end conflicts peace - fully. Knowing that in the end it will be the best for all.” The sculpture, Young Warriors Run to War, Old Warriors Fight for Peace, depicts an older warrior still gripping his spear, but he is active - ly offering up a pipe, symbolizing Top left and bottom: "Young Warriors Run to War, Old Warriors Fight for Peace". Top right: "Life and Vitality" 48x48; Bottom right: "Vitality" 60x60
respect and his openness to dialogue. As Todd puts it in the story about the sculpture: Lessons hard won teach us that real strength comes in the form of self control displayed by the man offer - ing peaceful solutions to conflicts. It is a deeply human narrative—one of
growth, humility, strength and evolu - tion––that you can instantly feel and understand simply by standing in the presence of the sculpture.
Watch Todd's interview here.
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the soul connection of art
"I fell in love with you [art] and soul, the way a fool would do, madly..."
W hat is the soul connection of art? Perhaps there’s not one definition. And sometimes, it’s hard to even define, but when you feel it, you know it. Often it’s an instant spark. Like love at first sight, it’s immediate and powerful. Other times, a piece of art you’ve seen several times be - fore suddenly speaks to you, maybe because it’s fulfilling something your soul feels it needs at that time. Whatever the reason and in what - ever way it happens, there’s a deep connection. Is it the color? The composition? The subject matter? The message? Sometimes we don’t know. And sometimes it’s the combination of all of those things working in concert. And the interesting thing is that soul connection is often two-sided. Many artists experience a mean - ingful connection with each piece they create. Often they’re exploring something their soul needs, wheth - er it’s to heal, celebrate or decipher messages, thoughts and emotions. Other times, they’re sharing a soul connection they had with a place or experience––trying to create that same connection for the viewer. “There’s a mutual appreciation
and connection there,” said collec - tor Nancy Jackson, who has been coming to the Celebration of Fine Art for 20 years. “An artist created it and put an awful lot of inner thought and soul into it. You love it and connect with it, and I think they appreciate the fact that it res - onated with you.” immediate, but enduring Like love at first sight, the con - nection with art is often immediate and intense. But unlike the fleeting nature of a romantic attraction, the connection with art tends to endure. It embodies something authentic, not just aesthetic appeal. It has all the elements of a long-lasting relationship: a shared human experience, a certain level of trust, openness and vulnerability as you allow yourself to feel what that piece is revealing or communi - cating to you. “Usually, it’s almost instanta - neous where I’ve seen something on a wall at a distance and know right away it’s something I need to go see closer,” said collector Glen Winchell. “But when I connect with a piece of art, it has to be ongoing. It’s not just a one-time thing. It
grows over time. That’s when I can tell that I’ve got something beautiful that I can’t do without.” For some collectors, that connec - tion grows even stronger when they get to know the artist behind the work––when they learn the process or physical or emotional journey that artist went through to create the piece or a body of work. “It’s a visual connection first,” Nancy said. “But when you can get to know someone––get to know why they’re doing what they’re doing and their love for it, it just adds so much to it.” Often, that “why” is driven by the artist’s yearning to fulfill something deep in their soul…a deep soul call - ing. Soul Healing and Expanding Artistic expression has long been used as a soul-healing and expand - ing tool because art helps channel emotions intentionally. Through their work, artists often explore thoughts, emotions and experiences, work through challenges, or find respite or rejuvenation. That exploration may come in the form of subject matter, color use or even a specific medium. For mixed
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media artist Leah Rei, that meant finding some soul-soothing relief in gold leaf. And what started as a per - sonal journey of healing turned into a body of work that started having a similar effect on collectors. They, too, began to experience the joy and hap - piness that Leah felt when she was creating the work. “I started creating these works using gold leaf because I needed to create for myself a safe and happy place,” she said. “There were things going on in my personal life that weren’t necessarily that. This series of art, and this body of work, has become that freedom and comfort. Now that every - thing is great in my life, I get to create these pieces and give them as gifts to collectors. Through that, I’m giving them that gift of comfort and peace.” Where Leah found peace and hap - piness in the interplay between gold leaf and light, watercolor artist Heidi Rosner finds in desert environ - ments––that is her happy place. “These days I’m feeling such a strong connection to the desert,” she said. “The flora, the fauna, the air, the smell when it
rains, those are all very spiritual, soul connections for me.” So, when she chooses to paint something, it’s usually not because she wants to paint that object specif - ically. She’s more compelled to paint the impact it has on its environment–– the way the cast shadow, intense color or filtered light can create moments of calm or lively energy. She then trans - lates that feeling into a watercolor. “When I’m creating, especially my ‘Serenity’ pieces, there’s a lot of breathing room and calm space to them and that feeds my soul, because there’s so much chaos everywhere,” Heidi said. “When I work on one of these pieces, I feel centered and pres - ent.” That feeling then carries over to her collectors. With her colorful body of work, she often hears from collectors that it makes them joyful and en - ergized. With the “Serenity” pieces,
collectors tell her they provide a sense of calm and peace. “It’s fascinating to see how people respond, because I feel the same way when I’m painting colorful pieces––I’m energized and it makes me happy in my heart,” Heidi said. “And when I’m painting one of my monochromatic pieces, I feel very grounded, present and calm.” seeking soul guidance Much like collectors rely on their gut or heart connection to help guide a purchase, artists rely on their soul to help guide the process of creation. “I think it’s a point of departure with every piece,” said artist Tatiana Rajkov. “It starts at an unconscious level, and then it takes body, shape, color and characteristics while you’re working on the idea and preparing the con - cept. But the soul connection starts in
Opposite page: "Whispers of a Bloom", Tatiana Rajkov, 48x36. This page, upper left: Artist Chad Lieske buffs one of his rings. Upper right: Guests admire artist Heidi Rosner's watercolor "Serenity" series. Right: Art lovers admire Laura Lee Stay's masterful sculptures.
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Opposite page, clockwise from top left: Artist Gedion Nyanhongo works on one of his stone sculptures; Artist Leah Rei pre- pares to apply a piece of gold leaf; "Child of Light", bronze, Laura Lee Stay; "Prickly Pear Garden", 18x64, mixed media, Leah Rei; "Teton Reflections", 48x60, acrylic, Peter Mathios. Right: "Time", 36x48, oil, Pete Tillack
the unconscious and guides you throughout the process.” Because each of her highly detailed paintings takes her quite a while to complete, it’s important to Tatiana that she’s able to tap into that soul connection throughout the duration of the painting. She does that by reducing outside distractions and be - ing mindful of the external inputs she allows in. “It’s something that you hold that helps you make decisions,” she said. “You have this connection to something that’s bringing you the right answer. Even in the very fine details and last glazing, you get connected with the piece and tap into your intuition to achieve it. But you have to stay in your center.” Luckily, when Tatiana taps into that soul guidance, it’s an all-consuming and powerful connection. And that connection is felt by her collectors. “Sometimes it’s like I go
into another place,” she said. “When I get in that state, I’m deeply in it, and I’m so happy and full. It’s amazing when a client connects with the emotion that you were feeling when you were creating that piece. It’s so special.”
connecting through time, place and story “Every piece of art in our house has a sto - ry,” said art collector Deanna Zylstra. “Even now, we’ve been col - lecting for 30 years, I can tell you the story of nearly every piece, even after all these years.” While Deanna and her husband Ken don’t typically seek the artist’s interpreta - tion of the piece, they prefer to understand the feeling or story it evokes for them, many artists do create pieces
based on messages, mean - ings or questions their soul is seeking to answer. For instance, artist Pete Tillack uses his art as a visual journal of sorts to better un - derstand the thoughts, feel - ings and internal stories that
have shaped his perceptions. He communicates those interpretations through recognizable symbols that we all can connect to––sym - bols that in many ways serve as guides to question or explore our own thoughts and feelings. Through that deep ex - ploration of his own soul, he came to realize that his journey did not exist in a vacuum. These deeply personal messages––or so he thought––were actually shared human experiences. His art started to stir some - thing in people’s souls and they often open up and share those stories with Pete. “They were messages from my soul and I didn’t realize that other people had those same feelings,” Pete said. “I had to really dive deep to fig - ure out that what I’ve been hiding was worthy of talking about.” For artist Trevor Swanson, it’s about connecting people to a place and the feeling of
"It's a visual connection first. But when you can get to know someone––get to know why they're doing what they're doing and their love for it, it just adds so much to it." -nancy jackson
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that place, even if they’ve never been there before. “It feels like you’re a conduit in many ways,” he said. “Most of my research is out by myself and I’m trying to recreate that moment of connection that I expe - rienced. I see this beauty, or I see these amazing things happen, then I try to share that with people who might not ever have a chance to see that.” In fact, the most impactful com - pliment Trevor can receive is when someone says that one of his paint - ings makes them feel like they are in that place with him, experiencing that scene. “It could be somewhere across the world that they’ve never been to, but when they say that, I feel like I’ve done my job,” he said. “That’s exactly what I’m trying to do––create that connection to place.” One of the most fascinating things about the soul connection of art is just
how deep it runs. You know you’ve got something really meaningful when years or even decades later, it continues to light you up, or the idea of parting ways with it is unthinkable “The challenge is when you start to think about getting rid of any of your art, which eventually, many people
So, while it’s hard to know what at - tracts us to a piece of art, there’s often a story deep in the soul that’s waiting to be explored. And that is the beauty of art––it’s an invitation to explore, discov - er and connect with others, with experi - ences, with places, and with the deeper parts of ourselves.
do have to think about,” Glen said. “How do you do that when most everything speaks to you in a cer - tain way? Even a piece that may haven’t noticed in a while, you think, ‘I couldn’t get rid of that, because…’ and then the story comes out.” be in another room that you
"Every piece of art in our house has a story. I can tell you the story of nearly every piece, even after all these years." -Deanna Zylstra
"Majestic", 24"x18", oil & patina on metal, by Trevor Swanson
"Red Alert", 24"x36", watercolor, by Heidi Rosner
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from the artist studio
A conversation beverley wolter wi t h
Beverley Wolter in her Scottsdale studio
S omewhere in the Arizona Sonoran Desert, not far from the pictur - esque Pinnacle Peak summit, sits a humble, block-constructed studio. Thoughtfully placed there in the late 1970s amid the unbridled thicket of native desert flora and fauna. Around that same time, on the other side of the country in Long Island, New York, a little girl was simultaneously build - ing a studio. But this one was vividly taking shape in her mind as she imag - ined her own backyard studio, just like the one the iconic artist Jackson Pollock had. In 2022, that desert studio and the girl found each other. “Ever since I was a little girl, I saw this Jackson Pollock documentary and he had this barn on the back of his property where he would paint these massive paintings,” artist Beverley Wolter said. “That was always in the back of my mind as a kid.” So when Beverley and her hus - band began searching for their next home, her subconscious was holding out hope for a separate space she could dedicate to her art. And then it emerged. In that
serene desert enclave, there was her studio. The main house on the prop - erty, however, left much to be desired, but that’s a story for another time and another place. A place for inspiration From an early age, Beverley recog - nized that having outlets for her creativity was like her lifeline. Art in all of its forms offered her an escape and she seemed to take to it naturally. She parlayed that passion and natural talent into the formal study of jewelry design, interior design and package design at the Fashion Institute of
Technology in NYC. After college, Beverley found her way into decorative painting, eventual - ly launching her own decorative paint - ing business. That experience soon led her to painting large-scale abstracts, which have evolved into richly layered compositions that seem to mirror the many layers of Beverley’s journey. Her pieces are often marked by distinct horizon lines that could be the ocean, desert or open plain, a sooth - ing earthen palette, glimmers of gold, and her signature “cells” and windows that could be boats on the water or the many dwellings that make up a densely populated urban environ -
ment––that is up to the viewer to decipher. “I think the com - bination of my life history and study has forged the type of art I cre - ate,” she said. “I’m grateful to say it’s a natural flow that comes from within me. The ideas and visuals come and I
"I create from within and I like to infuse my pieces with serenity, calm and peacefulness."
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execute them.” Though her life experiences and nature have been major influences on her work, being in her own studio also had an almost immediate impact. The extra space and solitude allowed her to explore scale, tap into new ideas and more easily shift into a zen- like flow state. “Being able to come out here and work in my studio, and it be - ing separate from my house, has been a game changer because it keeps my work and my life sepa - rate,” she said. Beverley also astutely picked up on the remnant creative energy embedded in the studio, left by the previous owner who used the space to restore Volkswagen buses. Now, as she sees it, she gets to carry on the creative spirit
“Living in the desert, obviously, I can't escape to the ocean, so I like to escape to my studio. I'll just come out here and paint. I just need two hours to decompress. So, making art is not only for other people, but it's also part of my spiritual process.”
out,” she said. “I think my art is evolv - ing just from having the natural light, which is something I've been striving for for so long.” One recent evolution came in the form of her “windows” pieces. “In a lot of my work, you’ll see con -
of the space. And the studio’s connection to nature helps fuel that creativity. “When you walk outside of my studio, there are saguaros, the desert and mountain backdrops,” she said. “Anytime I want to be part of nature, I can open the door and I can hear the birds. I don't even need music. It's pretty magical.”
Beverley mixes her proprietary acrylic medium.
tinuous cell work,” Beverley said. “The windows are a variation of that idea, but these come from layers built up beneath, versus staying on the sur - face. They were another way for me to capture a moment––moments of rest and moments of excitement. They’re kind of like little windows to your soul.” Connecting to the soul is part and parcel of Beverley’s artwork––and it’s not just to the soul of collectors. She
A window to the sol and the soul Until recently, however, there was just one thing missing from her studio: natural light. But now that she’s add - ed a full-view glass garage door and reduced her reliance on artificial light, it has already inspired fresh ideas. “The garage door has been a big contribution to how my art's turning
Now, for Beverley, being in her stu - dio and creating art is akin to being in nature. It brings her serenity, and that’s the space from which she likes to create art. “Whenever I'm creating art, it's like being by the ocean because it brings me peace and tranquility,” she said.
"Urban Sanctum", 36x36, acrylic, by Beverley Wolter
"Resonance", 48x60, acrylic, by Beverley Wolter
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believes every piece of artwork has energy infused into it and when she creates from the soul, she feels a sense of serenity and peace being transferred onto the canvas. “My favorite way to create is when I’m in a flow state,” she said. “I’m guided. I’m uninhibited. I cre - ate from within and I like to infuse my pieces with serenity, calm and peacefulness. So, I’m always striv - ing for balance between stillness and movement––visually, your eye wants to move around, but inter - nally, you’re feeling stillness.” A deeper resonance Artists never know what exactly within a painting will connect with someone, but, at least for Beverley, she believes creating art from the soul will always connect with someone somehow. “I aim for resonance because we're all connected,” she said. “If you can find something in my art that you connect with––it might be imagination, it might be a memory, it might be a color that triggers something––I feel like I've done my job because we're all connected and I want to recon - nect people to something within themselves. By building that thought process into my work, I feel like someone is going to walk up to my work and connect with it on a deeper level. And that's really important because you're bring - ing that art into your home and art carries energy, so you want to bring art that resonates with you.”
Watch Beverley's interview here.
"Dwellings", 48x36, acrylic, by Beverley Wolter
"I aim for resonance,
because we're all connected."
"Ventured Moores", 54x72, acrylic, by Beverley Wolter
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Young Warriors Run to war old Warriors fight for peace
the story behind the sculpture
When a man is young he has limitless energy and boundless optimism. Any righteous cause is worth fighting to the death for. Victory through sheer brute strength and a firm grip on his spear. The young warrior’s inexperience leads him to jump in without counting the cost of the war. Time and experience lead the old warrior to think ahead. To look at all the options, and make the best decisions based on efficiency and the best end results. While still ready to fight, the experienced warrior seek to end conflicts peacefully. Knowing that in the end it will be the best for all. This Warrior still has a firm grip on his spear, his weapon of war, but in contrast to his younger self, he offers the pipe, a symbol of respect and willingness to talk through differences. Confidence and pride, along with a long history of success in battle, do not blind this wise man to the benefits of seeking, sacri - ficing, even fighting for peace. Lessons hard won teach us that real strength comes in the form of the self control displayed by the man offering peaceful solutions to conflicts.
–– J. Todd Paxton
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7900 E. Greenway Rd. Suite 101 Scottsdale, AZ 85260
SAVE THE DATE for 2027! The Celebration of Fine Art returns to Scottsdale January 16 – March 28, 2027 Keep in touch and shop for your favorites any time at celebrateart.com!
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