15 bytes
December 2005
Published Monthly by Artists of Utah, a non-profit organization.
Artist Spotlight: Holladay
The Rest is History: Beverly Wheeler Mastrim
by Julie M. Zych

In the early 1920’s when Beverly Wheeler Mastrim was six years old she glanced out the second floor window of her family’s farm house and saw something inspiring. She ran down the stairs and reached a stranger painting a white horse and a barn. Instantly she was hooked on the idea of painting and watched him for the rest of the day. The next morning Beverly talked her mother into letting her dismantle her bedroom window shade for use as a canvas and her music stand to double as an easel. With paints in hand she set out to imitate what she saw the previous day and the rest, as they say, is history.

Beverly, granddaughter to Henry and Sariah Wheeler, was born and raised on the property that is now Wheeler Historic Farm. Her experience growing up on her grandparents’ farm has been her motivation for most of her art work and those first impressions still influence her work today. “Many of my paintings depict the life of a farmer,” Beverly says. “ I have painted their portraits, homesteads and artifacts. I love the earth’s bounty; naturally I favor the earth’s colors for my palette.”

continued on page 3
A Little of Everything: Salt Lake City
Tongue in Cheek and Tail Between the Legs
A meandering in the thoughts and life of a 15 Bytes editor, including a coda, glossary and pronunciation guide and mention of artists as varied and talented as Brad Slaugh, John Erickson, Marjorie Mclure, Sandy Brunvand, Stefanie Dykes, Bob Kleinschmidt, Ed Bateman, and Amedeo Modigliani.
by Shawn Rossiter

An art police. Now that’s what we need.

This is the type of idea I come up with when I find myself alone at one of the Artists of Utah board meetings. An art police -- to patrol the streets and studios and galleries of Utah. To keep people honest, on the up and up. Make sure everything is kosher. Wouldn’t want someone putting “oil on canvas” when it’s really acrylic. Hey, if you call your work abstract expressionism, we want to make sure that thing is abstract and there had better be some expressive brushwork going on. Call yourself a plein air painter? I want to see some sand and tree branches mixed up in your paint. What happens when one of Utah’s One Hundred Most Honored artists dies or moves? We’ve got to have someone to verify the correct algorithm is used to find a replacement.

continued on page 6

Exhibition Review: Salt Lake City
A Disparate Cohesion
Lou Ann Heller, Judith Romney Wolbach and Jennifer Worsley at Finch Lane Gallery
by Kent Rigby

Salt Lake area artists are very fortunate to have great non-profit galleries to exhibit their work in. Finch Lane Gallery has been one of the most coveted fine art venues for more years than most of the artists that exhibit there have been on the planet, let alone, producing art.

Administered by the Salt Lake Arts Council, the Finch Lane Gallery is also one of the favorite Gallery Stroll hangouts. Director Nancy Boskoff, and Arts Council Assistant Director Kim Duffin love fine art and really care about providing the highest caliber service possible. Their dedication to excellence is evident in every exhibit presented. Glenn Richards does a great job with exhibit preparation and hanging as well. The SLAC Visual Arts Committee does a tremendous job not only selecting the annual slate of exhibiting artists but also in determining which artists will exhibit together.

The current Lou Ann Heller, Judith Romney Wolbach and Jennifer Worsley exhibit, on display through the end of the month, is no exception. This is an attractive show and the work hangs very well together. Colorful, abstract oil paintings by Heller inhabit the east gallery, wonderful pastels drawings by Worsley reside in the west gallery and ceramic sculptures by Wolbach are placed in both spaces, visually connecting the different media and styles of the 2-D artists.

Content and theme also serve to weave the exhibit into a unified whole. Heller’s oils are landscape-based abstractions, Worsley’s pastels on paper drawings are realistic creek and riverside landscapes and Wolbach’s sculptural elements are also drawn from the natural world.

Lou Ann Heller earned a BFA from the University of Arts In Philadelphia in 1976 and moved to Utah in 1977. She worked as a freelance designer until accepting a position as a staff artist for the Desert Morning News in 1993.

Horizon is the primary structural element in Heller’s “Wyoming Exit.” Converging diagonal elements are suggestive of natural land forms. The colors are vivid but conducive to the elemental landscape abstraction. Colors are played upon colors and paint strokes upon paint strokes in an “additive” method, which provides a sense of linear movement. There is a reference to shallow planes which break through the over-all composition here and there, providing further reference to place and environment.
continued on page 4
Literal Sculptures