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November 2005
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Exhibition Spotlight: Salt Lake City
The Out-of-Towners: Jay Nelson and Bryson Gill Experience a Change in Scenery
by Jamie Gadette

Jay Nelson thought he’d be an architect. Or maybe even a doctor, helping patients through illnesses such as that which left him bed-ridden for a good part of his adolescence. Ten years later, Nelson, 25, admits his altruistic instincts are best realized through paintings, sketches and tree-house installations.

“Making things helped me feel productive in a very dark time of my life,” he wrote in an email. “I feel like that time helped me formulate a strong work ethic.”

Nelson’s latest work, a collection of pencil drawings reflecting his passion for breaking waves, will be on display at Kayo Gallery alongside material by fellow Bay Area artist and former schoolmate Bryson Gill, 22, a Utah native who relocated to San Francisco four years ago. The two met at the California College of Arts and Crafts, a place where they obtained only partial frameworks for their current successes.

“I would say there was a lot I had to teach myself,” Gill wrote from his home. “The philosophy of [CCAC’s] painting program is not to flush out students with flawless technical foundation; rather to help students cultivate their interests in an intense work environment-wherever that may lead.”

Nelson took his skills to the beach. An avid surfer, he spends each week building surfboards, teaching surf lessons and working at Mollusk Surf Shop, a store that also provides a place for Nelson to rest his head and display others’ art. He sleeps in the attic, dreaming of his watery muse. The ocean is apparent in most of Nelson’s current works. “Wave” depicts a lone surfer sitting on his board, greeting the rising wave.

Viewers perceive a sense of peace, recognizing that the water poses little threat of overwhelming its languid visitor. Its aquamarine walls, though expressed in black and white, project solace and trust. This is his retreat, his haven. The portrait of a young man rising despite encroaching pressures.

There are other markers of the natural world. Tall pines, fog-drenched mountains, dark peninsulas and even Utah’s majestic state bird, soaring above a forest bed (or some unfortunate soul’s parked car).

Gill expresses his connection with the natural world through more domestic images. His mostly large-scale pieces contain references to early American landscape paintings and geometric abstraction. Some hover above plowed fields and crop circles bordering ancient, white motor homes. Others focus on serene lakes with abandoned canoes under a spotlight perhaps cast by myriad fireflies. None are necessarily premeditated.

“I don’t really work conceptually in terms of projects,” Gill wrote. “There are just different ideas that phase in and out simultaneously over time.” Besides, he’s constantly bombarded with new creative possibilities. His neighborhood features several art schools, commercial galleries and museums, many espousing cutting edge trends. It’s a far cry from Gill’s hometown where opportunities seem somewhat limited. Of course, things have a way of evening out.

I think of Salt Lake City as having an art scene and San Francisco as having many art scenes,” he wrote. “It’s easy to feel lost in a sea of art shows in San Francisco. I don’t think shows are overlooked as easily in Salt Lake City, so there can be a clearer dialogue between participants. I’m happy to return and be part of that for a moment.”

Nelson has never been to Utah. He’s looking forward to sharing his understanding of the world. “I hope my art can take me to places where I can meet new people and learn from them,” he wrote. It’s likely our community will learn a little something as well.

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This article originally appeared in the print publication Artspeakslc.
Artists of Utah News
Taking a Byte Out of Crime
Or Why You Should Be Proud to Wear Your 15 Bytes T-Shirt

If, in a possibly sugar-induced coma-like daze, you happened to watch the Channel 2 10 o'clock news on Monday night, you will have seen a story about the return of a stolen painting.

Utah artist Stewart Anstead's lost a painting two years ago when someone took it of the wall it was hanging on in the office building where Anstead's studio is located. An innocent patron later saw the painting hanging in an office building, was taken by the piece and purchased it.

When the patron was preparing to move this month he decided the painting was too large for his new home and decided to research the artist on the internet and see if he couldn't trade for a smaller piece. What he discovered on the web was that the piece he owned was stolen. He contacted the artist and returned the painting valued at $5000, and in return Anstead gave him a smaller piece for his new home.

What the Channel 2 report failed to mention is that the site where the patron discovered the criminal background of the painting was . . . that's right Artists of Utah!

We reported on the stolen painting in November of 2003 and it was in an archived edition of 15 Bytes that the patron discovered what had happened.

Anstead was delighted to have the painting back and good enough to thank us for our part (read his letter in our Letters 2 the editor). We, of course, were thrilled and it was only with the greatest measure of self-restraint that we kept ourselves from running down the street yelling "Are we cool or what?!!!"

A sense of decorum kept us from expressing the full extent of our pride, but we hope this little reminder of how effective we can be when we come together as a community will encourage you to don your 15 Bytes T-Shirt with pride.

Don't own a T-Shirt? Well, they are available to members of the community who make a $30 contribution to 15 Bytes. For a list of recent contributors to 15 Bytes and information on how you can support this ezine, visit our Fall Fundraiser page.

15 Bytes: Do You Get It T-shirts are available in:
downtown Salt Lake at Utah Artist Hands
Sugarhouse at Tanner Frames


Gloria Montgomery images 0 | 1 | 2 | 3 | 4

Gloria Montgomery . . . continued from page 1

After looking through the portfolios, my eyes focus on her latest works. Set upon a large easel, contained inside an organic mesh of cells, is a striking iris; its varying shades of purple catch my eye. All the tiny individually colored squares give Gloria’s work a distinct signature, which pulls the viewer in to take a closer look.

At first glance people often confuse the water-based paint she uses with mosaic tiles. It’s hard to believe the time and strict dedication each square receives. This attention to detail gives each space its own unique character. Gloria calmly states that “it soothes and quiets her mind” to paint and perfect each rectangle.

Gloria’s process is as unique and individualized as each square, matching the process to the subject matter by the feeling it reflects. To create a vibrant poppy she may begin with a watercolor wash of bold red, swirled with orange, then come back with an ink pen to draw each square. Finally, she goes into the outlined squares, filling them with an appropriate color. With the next piece, Gloria may start in an entirely different way, making a line drawing, then sketching her signature mesh over the subject, and lastly filling the squares.

Seeing the intricate designs makes me wonder how this idea came to fruition. To fully understand the artistic journey that has led her to this moment, one needs to view her past work. Looking through the volumes of pages in her portfolios, you can see how each piece contributed to her present visualization. Many of the pictures allude to the future by containing small bursts of unfinished square sections. Other pictures have one single, strongly stated square -- fondly called “windows” by her granddaughter.

During a camping trip to the Uintahs, Gloria recalls, she started doodling in her sketchbook, repeating square after square. Reflecting on these, she viewed the squares as an organic connecting force to the environment and life. This thought had many meanings to her, not only about life, but the possibility of bringing her designs together.

Bringing this new idea into the studio, Gloria was determined to spend as much time as possible making her new creations. Finding that she wanted to spend more time working on her art, she resigned from her full-time job as Executive Director for the new Heber Valley Railroad. By participating in art festivals and perfecting her skills through workshops while building a steady clientele, she has been able to concentrate solely on her artistic endeavors.

Continuing to move forward, Gloria sees her artwork as becoming more intricate, focusing tightly on the subject matter, while infusing more color, and finding new ways to associate squares.

Currently, Gloria is preparing for an upcoming show in December at the Patrick Moore Gallery, which will feature artists from the Park City Professional Artists Association. The Orbit Café will also be displaying her detailed marble still lifes |4| from November thru mid December.


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the family of Ed Maryon
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