{"id":102289,"date":"2026-03-24T07:30:04","date_gmt":"2026-03-24T14:30:04","guid":{"rendered":"https:\/\/artistsofutah.org\/15Bytes\/?p=102289"},"modified":"2026-03-25T07:55:09","modified_gmt":"2026-03-25T14:55:09","slug":"between-tension-and-stillness-at-phillips-gallery","status":"publish","type":"post","link":"https:\/\/artistsofutah.org\/15Bytes\/between-tension-and-stillness-at-phillips-gallery\/","title":{"rendered":"Between Tension and Stillness at Phillips Gallery"},"content":{"rendered":"
\"\"<\/a>

Installation view of works by Josanne Glass and Paul Vincent Bernard at Phillips Gallery, Salt Lake City. Glass\u2019s soft sculpture sits in the foreground, with Bernard\u2019s drypoint landscapes and Glass\u2019s paintings lining the wall beyond. Courtesy of Phillips Gallery.<\/p><\/div>\n

Josanne Glass and Paul Vincent Bernard\u2019s works are nestled among each other on the walls of Phillips Gallery this month, bringing out their best qualities through contrast. Bernard\u2019s anxious, restless line moves between attentive examinations of the landscape and, at times, darker glimpses of a world under strain, while Glass\u2019 work returns us to the quiet rhythms of the natural world. Barbed wire and eerie, mysterious doors in the dark are set against the simple calm Glass captures in the aspen forests of Utah.<\/h4>\n

Bernard uses drypoint on aluminum to etch in his scratchy gestures, which are perfectly imperfect\u2014wobbly but intentional, erratic but stylized\u2014with paint filling in the etching marks to create color play and highlights. Many of his works read as straightforward examinations of the landscape, built up through dense, repetitive marks that map barren hillsides, fields, and ridgelines with a patient, almost meditative attention. A piece titled \u201cFallow Field\u201d speaks to my agricultural background\u2014peaceful and pastoral, quiet and plain. But elsewhere, that same language shifts register: the shadowy silhouette of industrial sites in \u201cS\u00f6dermalm\u201d elicits those extractors keeping their sinister ways secret and in the background, behind closed doors, nothing to see here. It is in these moments that the work takes on a more charged edge, holding such presences in view as an art of accountability.<\/h4>\n
\"\"<\/a>

Paul Vincent Bernard, “Warm Soil,” drypoint with oil on aluminum, 16 x 24 in.<\/p><\/div>\n