The Real Santa Fe
Introducing The Real Santa Fe Podcast— (formerly I Love New Mexico) a fresh take focused on the stories, voices, and vibrant community of Santa Fe. Expect the same warmth, spirit, and deep appreciation for New Mexico, now told through the lens of the people who live, work, and create in The City Different. Hosted by Bunny Terry.
The Real Santa Fe
Sculpting the Spirit of Santa Fe: Inside the Art with Star York
In this episode of The Real Santa Fe, Bunny Terry sits down once again with renowned bronze sculptor Star Liana York — a true icon in Santa Fe’s art world. From her early days cutting wooden animal shapes in her father’s basement to becoming one of the Southwest’s most collected artists, Star shares the story of a life shaped by art, animals, and the power of place.
They dive deep into how Santa Fe’s foundries, cultures, landscapes, and generous community have influenced her decades-long career. You’ll hear stories about her creative process, the personalities behind her animal sculptures, her spiritual connection to Maria Martinez, and the quiet discipline it takes to let inspiration come through. Whether you’re an art lover, a Santa Fe local, or someone dreaming of a life rooted in creativity, this episode is rich with insight and soul.
🎧 Listen in to discover why Star believes that Santa Fe is more than just beautiful — it’s deeply generous, quietly powerful, and endlessly inspiring.
Original Music by: Kene Terry
Hi, this is Bunny Terry and I wanna welcome everybody back to the Real Santa Fe podcast where we talk about all things Santa Fe. Today we have , uh, one of my favorite guests , um, I've done a podcast before with this guest, but she is somebody who early, early in life , um, figured out what she loves. And the amazing thing is that she never had to veer off that course. And I was, the very first time that I had lunch with this guest , um, I thought it's, it is so cool to hear a story where somebody had an adult in their life who recognized their talent and their passion and allow and, and helped , um, this artist to grow that to the point where she is now one of the most popular sculptors in the southwest. I want to introduce everybody to my friend and somebody I admire , um, without reservation Star York . Star Leonna York, right? Is that how you want us to introduce you?
Speaker 2:That's great. Yes.
Speaker 1:So Star is, we met because she is one of the most generous artists I know as well. Every year she gives a major piece to the Cancer Foundation for New Mexico Sweetheart Auction. So one of the coolest things about being on that board and then serving as the board chair was that I got to meet people. Like you started . As I recall, we sat down at Yin Yang to have lunch and, and the conversation never slowed down from that moment. Is that how you remember it?
Speaker 2:I was so fun. It was really great to share with somebody. It was like, we've known each other a long time. It was very easy to , um, to carry on conversation 'cause there was so much to share, both having creative lives and interesting lives that , uh, had to do with the arts. And our interests were similar too ,
Speaker 1:And books. I recall that we talked a lot about books where we were
Speaker 2:<laugh> .
Speaker 1:It was like, oh , have you read this? Yes, yes, yes. <laugh> . So, I , I want you to know that , um, star is not intimidating at all, even though her the depth of your work is amazing. So, before we, we always create this outline before we meet with guests, but I want people to know how you began, how you came to this life as a sculptor, because I love that story.
Speaker 2:Well , um, I did have , uh, two parents that were , um, uh, connected to the arts. My mother had been a professional ballerina, and , uh, my father , um, though he was an engineer, he just was passionate about his woodworking. So he always had stuff going on in the basement and he would allow me to cut , go down there, and when I was just, I don't know , 5, 6, 7, and I could draw an animal on a piece of wood and cut it out on the jigsaw and then I could paint it. And so that kind of started it. And even though my mother was a little concerned that I was going into the arts, 'cause she knew how hard it was, she was a dancer back in the thirties, you know , so up in New York. So the competition, and it was just a very hard life. But , um, I think my parents coming from that age, they just assumed, oh, I'll probably just get married and have kids anyway, so it didn't matter. I could go. So they didn't get in my way. They didn't discourage me, and I felt very lucky about that so I could go on with my work. So I just started doing various art things young, and because of that time with my father in the basement, I think I always had kind of a draw to , uh, sculpture. And , um, that was , uh, further encouraged by , uh, class I took when I was just in junior high. Uh, we had an arts and crafts class, and the teacher , um, was very excited and, and understood a lot about casting. So he had us do pieces that we could actually cast ourselves with the centrifugal cast, caster, miniatures. So, pretty early on I was casting myself. I bought my own caster and started doing these little miniatures , um, that I sold at a gallery in Chevy Chase, Maryland. So I started my , uh, art career showing in galleries pretty early <laugh>. And it just, the work got bigger and bigger.
Speaker 1:So how, how old do you think you were when you sold your first piece?
Speaker 2:Uh, I think it was probably 16 or 17 years old. But , um, the, the owner of that , uh, gallery had purchased a lot that he kept himself over the years. But , um, yeah, it was, it started me on that path for sure. So I was very grateful for that kind of encouragement and support too.
Speaker 1:Yeah. Because I, that's, you know, so many times I hear artists say, you know, everybody suggested that I, you know, get, get a real job , um, in the middle of creating. Um, and it , and I don't get the impression that you ever , um, I mean, it was your, it is it , it was your life's work, right?
Speaker 2:It was. And so were the horses, and that was something when I was going to university, I gotten a , um, scholarship, which was good, but I still had to support myself and do other things. So I not only was making these little, little , uh, sculpture creatures, but I had a horse boarding business , uh, that I was working with too. And I was doing some training at that point because I've always been very passionate about my horses as well.
Speaker 1:So you didn't start your artistic life in Santa Fe, but you ended up here. Yes. How did that happen?
Speaker 2:Because I wanted to get bigger in terms of the sculpture. I was , uh, sculpting and on the East Coast, they were like three foundries on the whole coast, and they were not very good. The one that was really good was so backed up that if you took them a piece, they said, well, it'll be a year <laugh> before they get it cast, and you can't run a business like that. So , no . Um, I started looking around and Santa Fe had five major foundries back then, five. And so I found one that had , um, been doing castings , uh, a little bit larger than what I could cast with my centrifugal caster. So I decided to come out and visit them. And I hadn't traveled much in my life. I'd been on the east coast at that point all my life. And it, so in my early twenties, I flew out to see Santa Fe and go see a foundry and got one that I thought would be good for me. And , um, I just was amazed at what the area was like. And so spent the next two years before I could actually move out here. Um, learning about the area, flying back and forth to the foundry and , um, uh, getting to know the surrounding area. And I absolutely felt this was my heart place. I had to move out here. It , it was such an education and , uh, and an amazing discovery for me. So those first few years out here particularly, I spent a lot of time learning about my area and the different cultures and , um, so much was accessible out here. That was inspiring and exciting. So I couldn't wait to move and did and wound up , uh, uh, near Santa Fe just because of my interest in horses. It had to be outside of Santa Fe. Right. So I started in Jupi , which is next to Tesuque , where I had a little ranchito and , uh, then eventually wound up in Abcu where I have a much larger ranch when I decided to start raising and training horses. <affirmative>
Speaker 1:That . So I want people to know, because we, I I never wanna assume that people who are listening have ever been here. But , um, when you talk about ABA q , that's , um, can you explain to folks where that is in relation to Santa Fe?
Speaker 2:Yes, it's , uh, where we are is only 36 miles north, but we're on the , uh, south, we're south of ABA q . Um, but it's the area that Giorgio O'Keefe loved so much and made quite famous by her paintings. Uh, she has a , they have a house, her house there now, right in Aku Town that , um, is on the museum tour. They have for people to see which she'd collected. But she also , uh, had places she went to out at Ghost Ranch, which is incredibly beautiful. It's all the Red Rock and it's just gorgeous out there. But flows us here where we can ride pretty regularly. Only a couple miles, a few miles away is Copper Canyon. That's amazing. Like that. It's so colorful. Um, it's, it's just a gorgeous, amazing area. And at Ghost Ranch, one of the other things that's exciting about it for me is I've always been interested in ancient history and the , the prehistory that's accessible there is quite remarkable. Many of the oldest dinosaurs, biggest dinosaurs they found in the country, in our country are from Abaki in that area that they found up in the Bisi as well. So they have a little prehistoric museum there, dinosaur museum they call it. And uh, again, it's just , um, amazing how , uh, many cultures and ancient history is accessible in this area, which is another thing that fascinates me. So
Speaker 1:I had no idea. Um, I, I mean, I didn't know the, the, the prehistoric history that , um, I didn't have any idea. How did I not know that?
Speaker 2:Oh, you can still find dinosaur bones when you're just walking around out there and Nautilus and shark's teeth and <laugh>. It's, it's remarkable.
Speaker 1:Wow. Wow. So you came to Santa Fe , um, because of the foundries. I , I'm , I'm just gonna be really , um, transparent. I know so little about the actual process of how you create, but I mean the, the foundry is the last step, right? Is that
Speaker 2:Yes, yes. So I spend most of the time just creating a piece in clay. Then when I finish that, I take it to a , um, mold maker who makes the mother mold. And it's a two molds process, lut wax processes where you, you can make a mold in a silicon rubber, so you can reuse it by injecting melted wax into the mold. And then that can be put into the ceramic shell mold that's destroyed each time a casting is done. So it's a long laborous process to, to do bronzes. And we haven't improved on it much since the Egyptian times except the silicon rubber <laugh>. That's probably our best ad uh, advance in terms of the process.
Speaker 1:And you do, I mean , uh, so I got really familiar with your work because I hung out all the time at Sorel Sky , which is, is it the only gallery where you show in Santa Fe?
Speaker 2:Um, yeah. And most galleries , uh, insist on being, having an exclusive with an artist. So , uh, but I do have another gallery with Sorel Sky up in Durango, and I have three galleries in Arizona. I've limited my galleries now as I'm aging to , uh, galleries I can get to in a day. So the galleries that I used to have in California or New York or whatever, I , I don't wanna deal with anymore. I just prefer them to be I accessible to me in a , that I can drive to
Speaker 1:Drive . Well, I , um, you know, we would, when we lived downtown, we would walk downtown on Friday evening and, and hang out in a gallery, which is one of my favorite things to do. Oh , nice . In , in Santa Fe. And so I want folks to know that when they walk into Sol Sky, you, you're really prolific. I mean, you have a lot of pieces there. Is that years and years of work, or, I mean, you're just, you create so much.
Speaker 2:Oh , well, I, I've , uh, always been fast <laugh> with the things that I've , uh, sculpted knowing a lot, having a lot of friends, and just comparing. But , uh, that's one thing. But also, I've been doing this a long time and , um, uh, I have a show this year at Medicine Man , medicine Man's , um, art of the West Museum, that's a 50 year retrospective. So I've been doing it a long time. <laugh>.
Speaker 1:Well, and you do , um, your subjects are quite frequently animals, large animals, I mean all , all sizes. But talk, talk about that animal piece because I'm you, whether you're doing a horse or a bobcat or a , an owl, the detail is amazing. I don't even know how you make that happen.
Speaker 2:Oh, well, thank you. Um, I actually, if anyone looks closely, I pretty loose in terms of the detail. I, I tie , especially with my animals, I tend to agitate the surface more to give them energy. 'cause I really like doing the animals in repose. Like you just capture a moment when you see a , a , um, some wildlife relaxing like a bobcat or whatever. Um, but what I really like to focus on is the expression and the, the, and making the personality or the character of that animal be what is , um, convincingly real in the sense of, excuse me, in the sense of a , um, a personality or character that's there. And it , it , that to me is the most fun about sculpting, is seeing what kind of character comes out. And when I first moved to the area, I started doing a lot of the Native American subject matter, particularly women, because it was just so exciting to me to see these cultures that I wasn't familiar with coming from the East Coast. And , um, even then, when I would do a piece, I wouldn't try to be copying a particular person. I might use archival photos to get a real understanding of bone structure and stuff. But what was fun was waiting for that personality to emerge when I'm sculpting. And so I had to be familiar with how they would look if I was doing a particular like Navajo or Pueblo Indian. They're different. So, so , um, I had to be familiar enough with that, but then I just let it, it's almost like you feel like you're a vessel and maybe you notice this about your writing when you understand a subject enough that you can let it go and let it come through you in some way that , um, makes you feel like you're connected to that collective consciousness. Or, and, and also at the same time, reaching down to yourself , uh, to the subconscious level of your experience with a character that's emerging. Like, I've often seen my mother in this piece. It may have been a Navajo piece, doesn't look like , um, my mother in any way, shape or form, but it's a sensibility or it's a, a personality that I , I was reminded of when I saw a person that inspired me. Like the one with my mother, for instance, was , um, a woman who oversaw, she was a medicine woman in the Navajo reservation who was overseeing a kada ceremony. I was involved , uh, I was invited to, and a kada is the coming of age of a young girl. So it's , uh, it's like a four day ritual ceremonies and that sort of thing. And this , um, medicine woman came in to oversee it. And I, and I didn't do that sculpture until a couple years after that , um, experience. But so when I did, it could really be a combination of what it was about that woman that inspired me to sculptor. And it helps me discover myself, what it is about that person that I could connect with for whatever reason. So , um, I feel the same way about the animals. I really want them to, a lot less important than making sure every hair is right on their body. And I tend to be really loose with that. Mm-hmm <affirmative> . Is that they have a credible personality and character that you can recognize.
Speaker 1:So that's just like the piece that you, that you donated last year, which was the, I think it's Distance Thunder, which was the mother with the baby with the basket. Now I can't remember the name of the basket, but it was, you know, there was , um, so much personality in both her and the baby in their faces. I mean, that's one of my favorite pieces ever. There's so much movement. Um, I I, some , uh, we're gonna have to, we'll have to show people a , a photo of it, if that's okay. Be because it's so , um, I mean, it's just a such a lifelike piece , but they all are.
Speaker 2:Well, thank you. Thank you. And with those pieces, I tended to be much more careful and accurate about the clothing and stuff than what I'm doing now with the animals. But again, she's moving and, and it's, I don't know, I just feel like when you get too detail oriented, it can stagnate a piece of the piece itself is not in a dynamic mode, you know? So a reclining , um, mountain lion for instance.
Speaker 1:Right.
Speaker 2:A little more energy and it's , uh, in its body in terms of the wave sculpt compared to like the distant thunder, which you can do much more careful detail. 'cause she's in action, she's moving and the wind is blowing and all that. So
Speaker 1:She's a little, she's a little anxious, a little. Yeah. There's
Speaker 2:Thunder coming and she has her
Speaker 1:Patch . Yeah , she's coming . Gotta get it . Right.
Speaker 2:And maybe the thunder of hooves could be even be more dangerous than lightning. Uh, but she's, but , uh, what I wanted to get with the baby is that she, the little baby is just like exciting . Uh , she's seeing coming and oh, mom's all excited, you know, <laugh> . So I wanted them to have different expressions.
Speaker 1:So we, I mean, we are, it is the real Santa Fe podcast. Is there any piece that's really inspired specifically by the city or by, or , or are , is there just a piece of it in everything you do?
Speaker 2:Well, I'd have to say the latter is correct. I think when we expose ourselves to things that really grab our interest and we really look into them, then it becomes part of , um, how I view the world. So it winds up being in a lot of what I can't help but being a lot of what I do. But , um, I think there are two pieces really that I could say that were specific to the Santa Fe area. And , um, they're both , uh, pieces that , um, only happened because I, I had the experience of being in living in Santa Fe, and one was a called, the series , uh, was called The Fabric of Life. And it was my taking on the , um, process of creating weavings of this Navajo woman that started when she was a child taking care of sheep. And that sculpture was called Spring. She has sheep that she's , um, tending. And then the next one was , um, summer spinning. And that was her as a mother learning to spin and having her own children, she's teaching. And then , um, the next one was , um, Granada Red, where she's throwing out, she's an older woman now , uh, at the prime of her life doing incredible blankets. And she's proudly throwing one out it to shake it out to show it to people. And then I know
Speaker 1:That that's an amazing,
Speaker 2:It was like to market . And this is , um, the , a woman again in her prime, and she's taking the blankets to market on the back of a horse. And then the last one is winter warmth , where it's the old woman , uh, with her husband who's being wrapped and sheltered by one of her blankets as they enter their elderly years. So that was, without a doubt, totally from my experiences, we've, we used to go out to the reservation on a regular basis, for instance, which is why I saw the Canda ceremony and , um, and go to some of the Crown Point rug auctions and things. So came from that. But then the other one that I thought I should mention was of , um, Maria Martinez, who is very famous , uh, Samuel Defonso Potter, who was born in 1887 and , uh, died in 1980. So she became really famous during her peak years here for her black owned black pottery. Well , Melissa Rogers collected a lot of her work. So Melissa Rogers was doing an expansion of their museum and asked me to do a portrait of Maria in three dimensions. And , uh, I was nervous about that for two reasons. One is that I just injured my right hand by overs, sculpting on a, on a life-sized piece, and I had it in a cast and one, and then the second one is, I don't usually work that way. I usually work on what I pull up for myself and, and the collected , uh, knowledge of a particular , um, type of person I'm sculpting. So to do a portrait was just not what I've done. So , uh, I gave myself a lot of time. I said, look, if you can show me tons of photographs so I can decide what I can learn her expressions and stuff, and see something where she really opens up to the camera, which, you know, a Pueblo woman bought , uh, born in that time, I mean, they would grow up being very closed right to public mm-hmm <affirmative> . Because it wasn't that accepted that, that anyone, male or female be picked out as special because of what they do. It just isn't , was not acceptable in their culture. Mm-hmm <affirmative> . So it's very hard to find out of hundreds of pictures where she actually looks at the camera with an expression that , um, shows some of her personality. But I found some. And so I said, I just need a lot of time because of my hand. And they said, okay. Uh, and I started the piece, and I think the reason this is important to tell you is that , um, and this, because it was such a big learning experience for me , uh, and it couldn't have happened had I not been given this , um, commission. But I started working , um, and I work a lot at night. And , uh, as I started working, being very concerned, like, I have to sculpt this with my left hand, which I never do, and I'm doing a portrait , which I never do <laugh>. So I start this thing, and lo and behold, it's like one of the fastest births I've ever given to a sculpture. And what would happen is I'd be in my studio working, and I can only tell you the feeling. It's no way, other way could I convince anyone. But I really felt her presence and I felt that she was there and working with me. There have been other times in my life where I have felt like I don't know where something's coming from that's happening, it's as if I'm just being a vessel for something or an image, a subject. But this was super clear to me, and I've, I've never been that convinced about that sort of , um, existence of other spirits that can connect with us. That made me a believer. And , um, it wound up being a super important , um, piece that I'll always remember of the hundreds of sculptures I've done in my life. Because of that, because of that help I really felt I had. Um, and she, when you think about it, to do what she had done back in a period where that was not very acceptable for women to rise to that prominence. Uh, she had to be a pretty determined , uh, lady. And so I, I just felt it was an amazing experience to have that connection with her. So that was definitely from being here , <laugh> ,
Speaker 1:You, you, it gave me a chill when you were say , talking about that, because I know that, I mean, I believe too that , um, we're if, if we're creative that we sometimes just have to sit and know that there's something bigger than us that is informing everything that's in the middle of what we're doing. I mean, and , and sometimes it shows up and sometimes it doesn't, but , um, it's, I mean, you're, you are such a hard worker that , um, you always make the time and the space for that to, to show up. I don't, I don't , and I don't even know if I'm conveying it clearly, but that's,
Speaker 2:Oh, I, I totally understand and agree. We have to be able to be quiet enough to listen. And I think that's why my studio is such an important aspect of me and my life, is that it puts me in that , uh, for lack of a better word, zen mode, where you really can , uh, quiet your mind. And I have a very busy mind. So to be able to quiet it long enough to listen is , um, what my studio allows me to have in my day as a habit. And it's easy to let that go and just be like, run through your life, like whack-a-mole, you know, you just go from one thing to another, to another, to another. Everything pops up. We live in a society that's so , um, information accessible, you know, so much coming at us all the time. Right . Uh , but to have those quiet times I think are pretty critical if you , um, are interested in the creative process,
Speaker 1:I , I , um, well, we, we could talk about this process for a long time because I'm so fascinated by it, and I'm so, you know, Stephen Pressfield says, I just go out to the studio every morning and sit down and begin the work. And, and that's where the, I mean, the magic happens in the hard work and sitting in the seat, standing in the studio , um, Noona Burgess says the same thing. He says, I just have to go and be in that studio eight hours every day. Oh , wow . Yeah . And the art will show up.
Speaker 2:Yeah. Uh , I do believe you have to have that head clearing space and time and uh , and I don't, I'm not rigid in my hours. I go, when I realize I have to do this, I have to go to my studio, <laugh> <laugh> . And , uh, because life can get so busy otherwise, you know, it's , um, yeah. So when I really have to go, it's like my respite. It's, it's a very important time that I spend there. Yeah.
Speaker 1:Well , when you're out and about, I would love for folks to hear what you like to do best when you're in, in town, when you're in Santa Fe. I mean, I know Sorel Sky , um, is one of my favorite galleries. Is it , is it yours as well? <laugh>?
Speaker 2:Oh, yeah. Yeah. And , uh, I have old connections with family there. Shannon Campbell, who owns the gallery, is the daughter of Ben Knight Horse Campbell. And when , um, uh, well, I'm still showing there , uh, when I was showing in Durango, we had shows together every year. So I got to know Ben and Linda very well. And , um, when Shannon said she was opening a gallery in Santa Fe, I was very excited to go with her. 'cause I think she's extremely dynamic and understands , um, so much of the whole picture for artists, because her dad was, and she's told me about, told me stories about remembering coming down when she's just a little girl with her dad to Indian market because he's a jeweler and , um, very accomplished. And so she really got a sense of what it was like , um, from the artist's point of view as well as from the gallery points of view. And , um, I think that shows in how she presents , um, the work in her two galleries. And she's also a lot of fun to work with.
Speaker 1:I would say to folks, if you're only gonna be in Santa Fe for a couple of days and you're looking for a gallery, that's, that's one where , um, not only do you, I mean, you see , they have a a, I mean, they've got jewelry, they've got sculpture, they've got the amazing contemporary art and traditional art. I, I, it's one of my favorites.
Speaker 2:I think so too. And she doesn't limit her idea of what is good art to a , a type of art. She really just goes for good art, no matter whether it's even abstract. It's, you know, she, she has a good eye for that. And that , uh, I really appreciate too, because I enjoy doing a lot of different styles. Uh , explained a little bit about the different approach I do with the human figures and with the wildlife. But then I really got into the rock art imagery, which came from going around and, and hiking to see petroglyphs and pictographs in this area, which led me to then go to even more ancient , uh, cave paintings like in Europe. So it , uh, it's been the initiation initiator of so many creative excursions I've gone on that , um, just continues. It's, it's never ending. A lifetime isn't long enough, <laugh>.
Speaker 1:No, it's not. It absolutely isn't. Well, I have so many more questions. Can we do this again, <laugh>?
Speaker 2:Oh , sure, sure. Yeah .
Speaker 1:Okay. I, I , um, because I'm, I'm so inspired by how hard you work and what you create, but I want, I want folks to know about you and to find you and , um, someday I'm gonna own my own Star York piece.
Speaker 2:Wonderful, wonderful.
Speaker 1:Thank you so much for being on the show.
Speaker 2:My pleasure. And Johanna, thanks so much for switching to Zoom, so I can Oh
Speaker 3:Yeah, no problem. I'm glad I was like, it's, it's better than we don't have any issues, but yeah. I love your, I love your work too. It's so nice to, to talk to you in , in person, <laugh> .
Speaker 1:Well , there is one thing, and Johanna can edit this in. I, I really was , um, we've told where they can see your work locally, but what, what do you wish that more people knew about Santa Fe? Um,
Speaker 2:Well, it's a super generous community. The, the amount of nonprofits here are amazing for such a small town, and that's always been important to me. Uh, I have a small business. I can't , um, uh, afford to donate as much as I'd like to, to these important causes. But I can give a piece of art and I can be involved in other ways. Like, we've done fundraisers for charities here at the ranch, and , um, one was the trailer painted ponies and, and the main event, and that helped a therapeutic riding program. So those things are hugely important to me, and I can't imagine being in a community that's more generous and supports that so much. I mean, that , geez , the Sweetheart Ball is one of the biggest, most fun events of the year in Santa Fe <laugh> .
Speaker 1:It is . And I, and that's, that's interesting because I've thought about that a lot of , um, you know, what is different about Santa Fe other than, you know, the sky is amazing, the art is amazing, but it's really , um, the generosity, the, the big hearts of the people that I meet here that I , you know, when people are moving here, that's what they wanna know. They don't wanna know , um, where they're going to eat dinner on a Wednesday night. They really wanna know what it's gonna feel like to be part of something bigger and better. I think,
Speaker 2:Yeah, it's, it that really is gratifying. I think. Um, I think most creative people have a more of an altruistic view of the world, and not all for sure, but , uh, certainly <laugh> many. And I think that's really reflected in , um, the people who are drawn to Santa Fe.
Speaker 1:I like that. Love it here. So thank you again to everybody who took time to listen to this really amazing conversation that I just had with, with sculptor and artist star Leona York. You can find her work at the Sorel Sky Gallery here and also in Durang. I'm , yes. In Durango and , um, in a couple of places in, I know in Scottsdale, right?
Speaker 2:Scottsdale and Tucson. Yes. Mm-hmm <affirmative> .
Speaker 1:And, and I, I just, I want you to know that Star is indicative of the people who live and create in Santa Fe. Generous, kind, thoughtful, and really respectful of the cultures where she finds herself. So if you're ever more curious about what's going on in Santa Fe, give us a yell and um, go to the , go to the Sol Sky Gallery over on Palace and check out her work. Thank you so much.
Speaker 2:Me too .
Speaker 1:Thank you so much. Oh ,
Speaker 4:Thank you, star .
Speaker 5:See you .