Browse creatives
Artist Directory
Discover artists, performers, and creatives in your community.
Browse creatives
Discover artists, performers, and creatives in your community.
artist
Founder and artistic director of Paracosm Dance, Alyssa is a multimedia dance and performance artist, instructor, and visual creator. She began her training with the Brockus Conservatory in LA where she was introduced to her movement foundations of Luigi Jazz and the Lester Horton Technique. Integrating mixed martial arts with parkour and tricking, she then furthered her training at Alonzo King LINES Ballet, BANDALOOP, and UC Berkeley. She danced as a soloist with Peninsula Ballet Theater under the artistic direction of David Fonnegra and performed in works by Copious Dance Theater’s Kat Roman, BrickaBrack Theater’s Gabriel Grilli, and Scott Wells & Dancers. She danced as a guest artist with Alvin Ailey American Dance Theater for Judith Jamison’s retirement tour and choreographed works under the direction of Joe Goode. For her excellence in dance scholarship and performance, she received the Julia Payne Dance scholarship from UCB. She is currently an aerialist with Blue Lapis Light - receiving critical acclaim for her 2023 performance as a principal soloist in "Belonging II Universe" - and longtime collaborator with Camera Clay. __________ For the past 13 years, Alyssa has taught dance across the world – in and out of the studio – studying osteological development and understanding different movement modalities. She graduated from UC Berkeley with a double major in Dance & Performance Studies and Forensic Anthropology, using her pedagogical, anatomical, neurological, and osteological studies to further the integration of physiology and dance technique. Taking her findings to a global stage, she is currently a cultural exchange ambassador to China via 我的风格艺术教育, based out of the Shenzhen Museum of Contemporary Art.
artist
Bela Fidel's first passion is creating. She is a mixed media artist working in Scottsdale, AZ. Bela’s body of work is informed by her experiences of having lived in three different countries and her exposure to their culture and outlook on life. This can be felt in the rich layering and texturing of her abstract work in oils, encaustics and mixed media. Bela’s other passion is animals, both domestic and wild. Her love and compassion for all sentient creatures led her to create a series in oils, Endangered, Threatened and Exploited Species, with an aim to raise people’s awareness about the plight of these animals. Bela has been showing her work for many decades at a variety of art venues, both in Los Angeles and in Arizona. Throughout the years she has been the recipient of prizes, commendations and media publicity. Bela strives to continue to distill her truest personal expression through constant exploration, venturing into new territories while staying true to her fidelity to elegant aesthetics.
artist
Studied painting at the Kansas City Art Institute and learned relief printing was far more interesting. Found work after graduation in commercial printing, bouncing my way from numbering forms to production work for national brands and advertising consultation with a local firm. This period provided me the opportunity to buy my own press and I stuck out on my own for about seven years working with boutique brands and local artists, putting on shows in an aimless hipster phase. It was in 2019 that my rent finally raised and I moved to Phoenix to take work as a pool boy, rejoin family, and start printing with Hazel and Violet. The dimensions of my work started to expand as equipment access was offered and one day I was told I might ask Xico for press time. Since then we have been collaborating to produce new work describing various scenes of local life and architectural landmarks specific to this new city I am exploring.
artist
My newest body of work was created in collaboration with Nobel Laureate Frank Wilczek, whose work in color perception inspired the art, Professor Nathan Newman, Professor Dan Marshall, and the rest of the Arizona State University SciHub team*, and realized with their device, the Hylighter, that has ten programmable monochromatic lights. The work invites viewers to consider that there is no single authority for an image. Rather, meaning resides in the oscillation between light, object and viewer—and in the recognition that color is not unique, never fixed, never complete, nor shared. Under the HyLighter’s ten monochromatic beams, vision becomes an event: contingent, relational, and inherently plural. Color appears not as a stable category but as a fleeting alignment between the luminous and the observer—neither entirely “out there” nor solely “in here,” but at most the unstable interplay of illumination and perception. The paintings explore how every creature lives in a world shaped by what it perceives. A tiger whose orange melts seamlessly into the grassland; the near-invisible shimmer of a tuna slipping through water; deep-sea reds that glow for some but not others; the riotous sensorium of a mantis shrimp with its spectroscopic vision; the nearly monochrome realm of whales and dolphins; the unlike floral beacons of hummingbirds and bees. Everywhere, for all species, light, perception, and uncertainty are inseparable. Vision is not even the same for all humans. Color blind persons have a cone spectrally—shifted resulting in a different view on color—for instance, reds and greens may be indistinguishable for them—but they can discern subtle variations in light and pattern that others overlook. In rarer and more severe forms, one or more cones may be missing entirely, reshaping the very fabric of color experience. Ten round paintings reimagine the "Ishihara Plates" (a test for colorblindness), revealing a visual advantage of color blindness—a heightened ability to guage levels of luminosity and to recognize patterns. Yet the work is less about animals, optics, or technique than about appearance itself. It stages a philosophical humility: an acknowledgment that our world is not the measure of the real but merely one aperture among many. The paintings meditate on the limits of human access and on the abundance that flourishes beyond our assumption of perceptual sovereignty.
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