Walking into Allen and Alan Fine Art—(or ‘A’ Gallery, as it’s generally known)—it’s clear you’re stepping into a space that reveres artwork. Past the desk, on the left, two large-scale paintings by Jennifer Rasmusson draw you in with a subtle yet dignified seduction. The space, lit by natural skylights and softened by exposed beams and muted earth tones, feels like an intimate conversation between the architecture and the art. Surrounding the central gallery space are works from a variety of in-house artists, whose pieces seamlessly co-mingle with Rasmusson’s, never overshadowing but rather complementing her work. Her show’s title, Coming Together, Falling Apart, aptly encapsulates not only the emotional core of Rasmusson’s work but also the physical arrangement of the gallery itself. A soft, almost angelic light spills over the center of Rasmusson’s exhibit, lending a sacred quality to the stamen at the core of her visual “flower.”

Without yet diving deep into individual pieces, one immediately notices the varied techniques and materials she employs, ranging from meticulously detailed to loosely expressive. What stands out in Rasmusson’s oeuvre is her delicate balance between identifiable forms, like peonies, and abstract optics, each image stitched with marks that reflect her observations on life and dance. Her technique shifts between high fidelity and more abstract, loose strokes, with the pieces themselves often appearing to disintegrate into the surrounding space, a delicate unraveling that is both intentional and immersive.

Jennifer Rasmusson, “Cadence,” oil, pastel, acrylic, 48 x 52 in.

The metaphor of the flower is unavoidable. Rasmusson’s peonies evoke themes of memento mori, lifespans and passing time. Even the choice of materials—oils and charcoal—with its carbon base, nods to the inevitability of death. Yet, despite these heavy themes, the work doesn’t overwhelm. Instead, it invites the viewer to appreciate the minimalism in some sections and the rhythmic harmony between the individual and collective pieces.

Rasmusson herself captures this interplay in a line from her artist statement: “I hope to share my insights into this dynamic interplay.” This small yet powerful quote perfectly encapsulates the force behind her work, a fluid interplay of material that is anything but academic. But the pieces speak for themselves: fawned over with luscious, wet brushstrokes, yet always mindful of the urgent, almost frenetic presence of charcoal.

This duality between oil and charcoal, high fidelity and abstraction extends beyond the peonies. It creates a playful atmosphere reminiscent of Martha Jungwirth’s joyous approach to form. Rasmusson’s range is seamless, moving between highly detailed and more ambiguous naturalistic compositions. Her work invites contemplation, rewarding the viewer from any angle. The layers of washes, flirty strokes, and moments left raw on the canvas all breathe a lightness that feels simultaneously organic and deliberate.

In the end, Coming Together, Falling Apart is a show that leaves its mark long after you’ve exited the gallery. It’s a dance between form and formlessness, life and decay, beautifully realized through the prism of Rasmusson’s distinctive vision.

Jennifer Rasmusson, ‘A’ Gallery, Salt Lake City, through October 26.

All images courtesy of the author.

Nolan Flynn

Raised in a creative Michigan household, Nolan Patrick Flynn developed an early passion for art. He moved to Utah to pursue an MFA at the University of Utah and continues to create art out of his Salt Lake City studio and teach high school art at Stansbury High School.