Sandy Brunvand and Al Denyer are familiar figures in Salt Lake. Each works in an artistic niche, a specialized corner of an art spectrum that, since the Renaissance, has seen few overall masters. Brunvand favors a graphic approach in which print is a raw material, rather than a final product. How marks are made is important to her, but she never forgets that in themselves marks are trivial; it is the many subtle ways they can signify that makes them interesting . . .
In many ways, Al Denyer mints the flip side of Brunvand’s coin. Instead of lines slicing a void to separate objects from space, Denyer’s dense gestures build presence by accretion, forming areas where perceptible marks disappear in favor of textures. Small differences, such as those between black graphite and black charcoal, become the syntax of a language made up of thousands of iterations. But where Brunvand wants us to be aware of the muscular gesture made by pen or pencil, Denyer deliberately loses these in a slowly evolving maelstrom of patterned signs . . .
In the September 2012 edition of 15 Bytes, Geoff Wichert takes a look at two unique though complimentary artists showing this month at Salt Lake’s Kayo Gallery.
Geoff Wichert has degrees in critical writing and creative nonfiction. He writes about art to settle the arguments going on in his head.