It seems a small studio for a stone sculptor — just 85 square feet, Jonna Ramey says — tucked at the back of the family garage, but it’s brightly lit, even on this dreary Sunday, with a wall of cheery windows and decent overheads. The space is OCD […]
The Kimball Art Center may have been liberated by its new location at the back of the Yard — a warren of working-class haunts across the street from Park City’s cemetery — full of 19th-century miners and bar-keeps. A case in point is the current show, When Evening […]
An embracing couple is captured in front of a narrowing, leaf-covered path. Slightly off-center in the composition, we see one figure’s back, while the other figure is facing us, gazing confidently in our direction, one arm cradling the lower back of her partner, while the other hand just […]
The combinations seem perverse, unholy — Claude Monet’s “Poppy Field at Giverny” and a plastic manufacturing plant; a delightful landscape painting by LeConte Stewart and a decomissioned chemical agent disposal facility in Tooele; a Georgia O’Keefe and the Facebook Data Center in Eagle Mountain. But the results are somehow mesmerizing.
The drawings pictured here, on the desk in Alison Neville’s studio, are only days or weeks old, but they belong to a stack of small, quick work spanning almost fifteen years. “Initially they started as a low-anxiety response to keeping a daily sketchbook which I could sketch or doodle on during lunch or other downtime,” the artist says. “The newest problem I’m taking baby steps towards addressing is my fear of using color. Cue sharpies, looking at retro ’60s floral sheets, and slightly bigger paper. I imagine I’ll continue to add to the pile until a conceptual piece gets my attention again but I will always return to drawing as a sort of home base (forgive the sports metaphor, please).”
“My work is an exploration of my spiritual beliefs through a biological lens,” says Emily Quinn Loughlin, a Park City native who earned her B.F.A. in Fibers from the Savannah College of Art and Design. She uses reclaimed materials from local businesses in her fine art pieces. “I begin by developing an element to use as a building block, and then I find unique ways of combining said elements to develop unique, strange, and beautiful objects … Using recycled material is a conscious effort to support the healthy digestion of material goods in our high-throughput consumer society.”
For now we see through a glass darkly; but then face to face: now I know in part; but then shall I know even as also I am known. (1 Corinthians 13:12) “Coming Through” represents a familiar Asian face, close up, one of nine small portraits of Buddha […]
Lenka Konopasek is always blowing things up or burning them down. Her beguiling works in paint or sculpted paper, now in a solo show at Nox Contemporary, make manifest that disaster is her thing, her oeuvre — but why is that? We arranged to meet at Nox to […]
“Planning for the stitches is always a challenge because I have to compose, paint, and then assemble this kind of jigsaw puzzle that never fully comes together as I expect. This process limits a lot of the play that exists in traditional painting because of the inherent need to consider more sculptural issues like gravity and how the various components are not only aesthetic but also have to be considered within a functional framework. For example, I might want to add a component into something for visual balance but I also have to consider how I attach it and if it can bear weight.”
Salt Lake City artist Lis Pardoe says has been listening to the audiobook Getting Unstuck by Pema Chodron. “It is all about meditation in hard times. Through a recent difficult family event, I have also recognized the importance of being still enough to let life move through you, no matter how difficult it may be, and that rest is releasing.”
It’s the latest in a series of vintage campers and RVs in minimalist, atmospheric landscapes the artist has been working on the past couple of years. “The portrayal of aging recreational vehicles trigger memories of trips to new places and the promise of protection from the elements,” says the University of Utah graduate (2012). “The metallic icons can be beautiful in their ghostly solitude. Conversely, they are reminders of eroding, transient artifacts, littering the environment and scarring the landscape.”
Anita Hawkins says that due to the size and complexity of the piece currently in her studio, she has been working on it on and off for over a year. “The focused making of it has been helpful in pushing out everything else,” she says.