Kasey Lou Lindley

When Kasey Lou Lindley visits an exhibition she looks at it through the eyes of both an artist and a curator.

A multidisciplinary artist based in Salt Lake City, Utah, Lindley approaches her work through the lens of intersectional ecofeminism, addressing place-based issues with a focus on nature, technology, and social justice. In Future Gardens, her 2022 exhibition, she explored society’s obsession with manicured lawns as a status symbol and contrasted it with the need for sustainable landscapes in a changing climate. Using watercolor, digital collages, and immersive video installations, she highlighted drought-tolerant plants as a hopeful vision for the future while questioning human responsibility toward the environment (see our review here).

Lindley’s artistic vision is informed by artists like Joan Jonas, whom she first encountered during a semester in New York City at the AICAD/New York Studio Residency Program. During her studies, she attended Jonas’s performance The Shape, the Scent, the Feel of Things at Dia:Beacon. “This experience radically changed my perspective as an artist and human being. … [It] is still the best art I have ever seen,” she recalls. “The experiential journey that viewers were taken on was mind-blowing. What really moved me was Jonas’ ability to use a variety of artistic approaches and masterfully create something that was both incredibly moving and personal, and equally universal. It felt like she completely reshaped my mind and thought processes.”

Joan Jonas, “The Shape, the Scent, the Feel of Things” at Dia:Beacon

“Jonas taught me that artists can express themselves in multiple ways… you don’t have to stick to one medium to master your art practice. This pioneering artist has taught me to fearlessly mine my own psyche, hopes, interests, and lived experience – This approach, I believe, is the best way to create work that is unique, thoughtful, and innovative.”

Lindley is also the Program & Communications Manager at Ogden Contemporary Arts, and merges her artistic practice with curatorial work, crafting exhibitions that are immersive, thought-provoking and deeply engaged with contemporary issues. One exhibition that profoundly influenced Lindley’s curatorial philosophy was Lisa Reihana: Emissaries at the Honolulu Museum of Art, curated by Healoha Johnston. “What I liked about this exhibit was the thoughtful execution of the artwork installation—everything was meticulously considered, and the space was altered to fit the theme of the exhibition perfectly,” Lindley explains. She was particularly drawn to the way the exhibition foregrounded historical events that had been previously misrepresented, nearly erasing the culture and history of the people the artwork sought to represent.

“Lisa Reihana: Emissaries” at the Honolulu Museum of Art, curated by Healoha Johnston.

“My favorite curators go beyond creating exhibitions that are viewed passively—I love curators that create immersive experiences where viewers are walking through and around the work,” Lindley notes. She appreciates when exhibitions engage multiple senses, incorporating sound and touch, and when they have intellectual depth, tying in historical or contemporary issues in meaningful ways.

Currently, Lindley has curated two solo exhibitions on view at Ogden Contemporary Arts: Good Girl by Elyse Pignolet and Doomscroller by Aimee Odum. These exhibitions align with her curatorial philosophy by blending historical artistic techniques with contemporary social commentary. “These exhibitions center female artists that merge the ancient art of ceramics with contemporary themes, offering fresh, thought-provoking perspectives on today’s cultural and societal issues,” she explains. The shows were timed to coincide with the 2025 NCECA Conference in Salt Lake City and will run through April 13th.

Visitors to Ogden Contemporary Arts enjoy Good Girl by Elyse Pignolet

Pignolet’s work resonates with Lindley because of its fearless merging of ceramics with social justice themes (see our review here). “Her craftsmanship is incredible, and she’s able to highlight art activism in a very powerful and beautiful way,” Lindley notes. Meanwhile, Odum’s exploration of artificial intelligence addresses the complexities of rapid technological advancement (see our review here). “There is so much potential for innovation, but also anxiety around the ethics of using AI. How will it shape our world? Is it safe? There are so many unknowns, but it’s quickly becoming a tool that we’re becoming dependent on for efficiency and convenience.” Lindley is particularly drawn to Odum’s method of collaborating with AI to generate artworks that provoke discussion and reflection.

Through her experiences as both an artist and a curator, Lindley continues to shape exhibitions that push boundaries, engage audiences, and explore the intersections of art, history, and contemporary issues. Her commitment to creating immersive and intellectually rich exhibitions reflects her belief in art’s power to challenge narratives, inspire action, and imagine more equitable futures.

All images courtesy of Kasey Lou Lindley.

Who Do You Love

During the month of February we ask Utah artists about a specific piece of art or artist, living or not, local or global, that has sparked their curiosity or influenced their work. We run their responses throughout the month.