Joe Brubaker’s “Sergio” (wood, acrylic, and found objects, 25” x 9” x 5”) sits between Heather Zusman’s “Frisky” (walnut veneer, 72″ x 24″) (left) and “Nature’s Veil II” (sage veneer, 60” x 60”) (right) at Julie Nester Gallery.

Whether one is drawn to the storytelling aspect of Joe Brubaker’s figures or the weightless elegance of Heather Zusman’s abstract sculptures, the works now at Julie Nester Gallery will undoubtedly spark conversation, both with others and within oneself. In the gallery’s beautifully lit space, enhanced by both natural and warm spotlights, Brubaker’s sculptural figures occupy the walking space and Zusman’s large, fluid wooden sculptures seem barely supported by the walls. The works by these two California artists create a fascinating dichotomy between fluidity and statuesque prowess, offering viewers a compelling interplay of movement and stillness.

Brubaker’s characters, crafted from an array of materials, incorporate weathered wood, recycled metal objects and painted elements. These sculptures, though not heavily overproduced, possess an undeniable realism that allows viewers to empathize with them. Many of the works are bust-like, often crude but intentionally so, emphasizing facial expressions, headwear or structural elements that command attention and allow for an almost accessible nature. The faces, carved with care, reveal a deep sense of craftsmanship.

The first Brubaker piece visitors encounter, “Cecil” is a wooden sculpture approximately two feet high and nine inches across. Dressed in brightly colored painted clothing patterned, with articulated elbows, the figure appears almost maneuverable. Repurposed rusted steel adds an element of timeworn history as “Cecil” gazes at the viewer with a stark, contemplative presence, mouth closed, skin pale and clothes carefully detailed. There is an undeniable weight to this piece, as if it carries an unspoken narrative.

Moving through the gallery counterclockwise, we encounter an entirely different sculptural approach. Zusman’s “Headspace,” a vertical composition standing nearly eight feet high and constructed from ash, resembles a contour drawing come to life—fluid, ribbon-like, defying gravity in an almost painterly manner. Its warm tones and delicate balance will captivate viewers, guiding their gaze upward along the swirling wood forms. Across her works, Zusman masterfully transforms a traditionally rigid medium into something that feels organic and alive. While slowly drinking in these pieces, one will likely wonder how they are built, bonded and held together—something mesmerizing and magical.

Another striking work by Zusman, “Love Everlasting,” takes a horizontal stance, spanning five feet across. Unlike the warm veneer of “Headspace,” this piece introduces a deep red hue, almost blood-like in its intensity. Its curves are inviting, smooth, and organic, defying traditional notions of wood’s rigidity. The craftsmanship here is undeniable, and the interplay of shadow further enhances its three-dimensionality while highlighting the playful nature of the forms.

To the right, Brubaker’s “Hawk” presents an interesting contrast. This piece, non-humanoid yet statuesque, stands about two feet high and on a pedestal. While clearly an abstracted form, its presence allows the viewer’s imagination to fill in the missing details; the beak, the eyes, the essence of the creature. The base is rough and perceivably untouched, juxtaposed against the meticulously carved yet impressionistic upper structure ghosted with an almost transparent white wash.

Heather Zusman, “Love Everlasting,” larch and crimson veneer, 30” x 54″

Nearby, “Gregory the Great” stands with broad shoulders and pipe-like arms, his chin slightly raised in a stoic pose. His red metallic hat, rather than feeling comical, exudes confidence and foresight. The combination of wood, black paint and whitewash showcases Brubaker’s masterful use of both found and altered materials. This combination and flexibility of material understanding is present in all of his works and allows for a seamless transition within the work, both individually and collectively.

At the back of the gallery, the freestanding “Elf King” towers as one of the larger sculptures in the show. A fusion of metal assemblage, welded bits, wood, and found objects, the piece stands with elongated legs and a somber, wise expression. Unlike some of Brubaker’s other figures, “Elf King” appears grounded—his hands empty, his posture deliberate, as though burdened by age and experience. The size and imposing presence impeding within our physical space increases our awareness of the smaller nuances, like the crows feet surrounding the eyes and the rust worn without care.

Joe Brubaker’s “Elf King” (left) and Heather Zusman’s “Echo in Motion” (right).

On the back wall, Zusman’s “Echo in Motion,” crafted from stained walnut, creates a mesmerizing interplay of reflections and shadows. The deep, rich wood tones add warmth, while the contours echo the fluidity found in her other pieces. Like an expert contour drawing, it captures the illusion of movement, challenging our perception of wood’s inherent stability. Zusman’s sinuous forms, suggesting constant motion, remind us that stillness and movement can exist in harmony.

When presented with abstract works, whether figurative or non-representational, it’s often difficult to know how or what we should feel. Perhaps there’s no singular answer, and that’s precisely what makes “Dialogue” so compelling. Zusman and Brubaker’s works don’t dictate an expected response, they invite exploration. There is no prescribed narrative, no conceptual force imposing itself upon the viewer. Instead, we are given the space to connect personally, to reflect, and to engage in our own internal dialogues. The beauty of “Dialogue” lies in this open ended-ness.

Dialogue: Heather Zusman and Joe Brubaker, Julie Nester Gallery, Park City, through March 25.

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.