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Published monthly by Artists of Utah, a non-profit organization   

Artist Profile: Salt Lake City
He Can Bild It
The life and art of Jared Lindsay ClarkJared Lindsay Clark is one of three artists chosen to inaugurate the Utah Museum of Contemporary Art's (UMOCA) artists-in-residence program. Along with Brian Patterson and Mary Toscano, Clark will have access to national curators and critics, workshops in professional development, monthly critiques, special access to visiting artists and lecturers, and exhibition opportunities outside the museum. He also gets a free studio space at UMOCA.

When we caught up with Clark earlier this year, his studio was a storage unit on Salt Lake City's Beck Street. Here he keeps an assortment of bricks, old appliances, scrap wood and furniture — the building blocks of his artwork. You might remember Clark for his Bild, the installation that inaugurated UMOCA's Locals Only Gallery in 2011. Minimally flat in the front but a jumbled mess of forms behind, the installation's shifting between the flat surface of a painting and the three-dimensionality of sculpture has characterized Clarks's works for years. Broken brick walls, a pair of lone trees along a stretch of highway, burnt out buildings and clean white cubes — all have been the frames for his performance/installation/sculptures inspired originally by the dynamics of abstract paintings.

Clark was the recipient of a 2012 Visual Art Fellowship from Utah Arts & Museums. In this video profile, he discusses his life and work, in a studio that makes his new digs at UMOCA look posh in comparison.

Public Art: Salt Lake City
Art in Transit's West-side Stories

Salt Lake's airport TRAX line provides opportunity for new public art

As the new light rail line to the airport opens this month, we can learn a lot about our Westside neighbors through the public art installed at TRAX stations. In fact, 15 Bytes and Salt Lake City Arts Council, in partnership with Salt Lake Gallery Stroll, invite you to take a stroll via TRAX on April 19, 6-9 pm as part of your monthly Gallery Stroll itinerary.

Thanks to UTA, the first 200 art lovers who show up at Mestizo Gallery after 6 p.m. on the 19th will receive a free ticket to ride the new TRAX line that evening. At Mestizo, you can see a photographic history of the Westside along the TRAX line curated by Erik Daenitz. You also can pick up a guide to the public art and artists prepared by the Salt Lake City Arts Council, and then you’ll be set to explore the six art installations along the new line. You might even meet an artist or two ready to answer your questions at their art installations.

So, all aboard!

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Exhibition Spotlight: Salt Lake City
Textural Analysis
Michael Bernard sets his art free

“I’m gonna’ try a two tone dabbing process,” says Mike Bernard in his studio on the top floor of the Guthrie building in downtown Salt Lake City. Bernard is surrounded by an assortment of debris: a crate holds old dishcloths, some with a grid of spongy texture, and paint rollers in a variety of textures lie stacked everywhere. “I’m gonna go with… red,” he says, pouring out paint and dabbing at the surface of his canvas with an old rag. “Once I poured out the gray… no… It’s going to pour it too far," he says, hesitating and readjusting. Guided by basic color theory and an expert understanding of paint, Bernard launches into a process of discovery, talking his way through what might happen in the forthcoming steps with prescient presence of mind. “I’m going to grab . . . I’m thinking by this I’m going to pull what’s happening on top further down and soften the noise as I pull further down," Bernard says as he works. "I wanna see what I am getting before . . . I want control . . . I don’t want drips or streak lines.”

Bernard didn’t go to art school, but he says he received an early education. His father is the well-known and highly appreciated engraver and painter Paul Vincent Bernard and the younger Bernard says he was “exposed to art all the time and would go out on these sketch field trips.” He could draw from a young age, and when he took up paints he says, “I learned to let the paint just start to do its own thing and I follow through with it.” His works resonate with an industrial 'high art' minimalist complexity, yet have their own personality, as Bernard has developed a unique way of setting the particular aesthetic beauty within his work free.

Despite his early education at home, Bernard says he was not interested in art in junior high or high school. At the age of eighteen, though, he “just kind of started doing angst collage work. It was my eye for texture, and now I am doing this and I just know what looks right.” Even Bernard’s early “collage angst work,” examples of which are still in his studio, showed a sophistication that belied his young age. Focused on texture, they are abstractions with a minimalist focus on collage, very much like the work of Morris Louis.

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Michael Bernard in his Salt Lake Studio, photo by Caitlin Blue
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