The President’s Gallery: A Sense of Place – 2014

In 1914, the first art gallery on the University of Utah campus opened in the Park Building. We are pleased to yet again exhibit art in that space. The original Park Gallery grew over the years to the stand-alone Utah Museum of Fine Arts with a permanent collection of 20,000 objects — ranging from antiquities and European masterworks to art of the American West and global contemporary art. The new special gallery is devoted to the artistic works of current students, faculty, and staff of the U.

 The President's Gallery - A Sense of Place - 2014
Bill Billingsley


Architectural Project Manager, Construction Project Delivery
Recycled cardboard, 2014, 18″ x 12″

“The model is not a finished presentation, but rather a working model showing how it was designed. The form is six cubes arranged in a three-dimensional spiral format around a central cube. Although it appears to be asymmetrical, it is rigidly symmetrical. The form is meant to emulate the ruggedness of the mountains that surround it. Rotating the cubes on to one corner makes the interior floor plans hexagonal in shape and, walking through the structure, from cube to cube, you rise one half level each time. The experience of walking through the building would be like taking a hike in the mountains.”

Michael Bridge


Research Associate, HSC Cell Imaging Core Facility
Communities Blending
Photomicrograph, 2014, 18″ x 18″

Through his position at the Core Facility, Bridge is able to pursue microscopy from an artistic perspective.

“My work entitled Communities Blending displays two dorsal root ganglion colonies cultured in near proximity to each other. The image is a print of a digital photomicrograph acquired on a confocal microscope. The colors found in the image arise from spectrally encoding the Z-axis dimension through the depth of the specimen.”

Linnie Brown

LINNIE BROWN – Merit Award

MFA student
To Stretch Out in Distance, Space, or Time
Mixed media on panel, 2014, 18″ x 36″

“My work visualizes the reoccupation of space over time, the abstraction of communities in transition. I view humankind’s interaction with the land as a complicated palimpsest of sorts. As the land is reoccupied, some previous structures remain visible and relevant, while others are erased. Farmland is converted to subdivisions. Roads are created, widened, or redirected. Precious resources are consumed. Boundaries shift, and people move in and out. Every action incrementally accumulates into yet another layer of experiences recorded on the land.”

Alyce Carrier / Austin Riddle


BFA students
Three Days Behind
Ceramic, 2014, 14″ x 66″

Riddle and Carrier became friends early in their college career through a mutual appreciation for the symbiosis of one’s hands submerged in a pile of wet, dirty clay. Riddle is a wheel thrower; Carrier is a hand builder. They work in separate rooms, but communicate verbally through a thin, non-load-bearing wall. They have found that sometimes, together as a unit, they are better than their individual selves. This piece is a collaborative effort, and the artists have big plans to continue their collaboration in the near future.

Ann Charat


Osher Lifelong Learning student
Centennial Valley Morning
Photograph, 2013, 18″ x 24″

Centennial Valley Morning was photographed in September 2013 while Charat was participating in the Go Learn Photography and Writing Workshop at the University of Utah’s campus in Lakeview, Montana. Snow had fallen the previous night, the ground was laden with dew, and the mist rose shrouding the mountains with fog. The group gathered early on the puddled road to wait for sunrise. This photo captures not only the sunrise, but also the anticipation felt by those experiencing it.

Patrice Corneli


Research Associate Professor, Department of Biology
Desolation and Gray Canyons of the Green River
Watercolor on Arches watercolor paper, 2012, 7″ x 18″

Desolation and Gray Canyons of the Green River is a series of tiny watercolor sketches that Corneli painted from a raft floating down the wild, remote section of Green River from Desolation Canyon through Gray’s Canyon through a series of giboulées (showers) followed by bright sunlight. The frequent combination of dark skies and sun made for a very pretty set of colors on the cliffs and ridges.

Tim Dayhuff


BFA student
Just Horse Play
Acrylic and paper on canvas, 2014, 48″ x 60″

A BS in biology with a molecular emphasis earned from the U, combined with many years in research on gene expression in the laboratories of Baldomero Olivera, Mario Capecchi, and Raymond Gesteland informs Dayhuff’s painting. He “strives to emphasize our commonality with other life on Earth, for then, as was the important lesson in Darwin’s day, our common humanity is affirmed.”

Joshua Dennis


BFA student
Winter’s Retreat
Oil on panel, 2014, 10” x 10”

“Just as the poet carefully selects words to convey emotion, what a painter chooses to exclude is as important as what is painted. Therefore, my work is a combination of direct observation from life and the thoughts and feelings I experience in nature, resulting in a kind of visual poetry. The landscape painter John Hughes taught me, ‘In painting, the literal gives meaning to the abstract, but the abstract gives beauty to the literal; combined, the two transcend what could not be accomplished alone.’”

Celine Downen


MFA student
State Street
Tunnel Book, Photography, 2014, 7” x 5”

Downen’s work focuses on the ever-changing built environment. It started with the unearthing of some old negatives of Bill and Nada’s Café, the classic greasy-spoon diner in Salt Lake that was demolished after Bill’s death in 1999. She was inspired to begin preserving these places through the lens of her camera, documenting the disappearing cultural landscape. Downen has spent the last several years chronicling old drive-in movie theaters, motel signs, and other commercial and cultural artifacts of an earlier era that linger in the corners of our modern world.

Clint Erekson


MFA student
iPhone photograph, 2012, 33” x 27.5”

Erekson has been using his iPhone exclusively for the last few years to take his photos. He has a passion for alternative photography, including pinhole photography. Erekson wishes to thank his loving and supporting wife for living with his shenanigans.

7:08 was captured on a digital iPhone. Clint likes its inconspicuous nature, which allows him to capture the individual’s true self. He says “We are all truly ourselves when we think no one is watching or paying attention.”

Chanelle Furner


Executive Secretary, Athletics Department
Homeless Man Watching the News
Photograph, 2012, 36” x 24”

Homeless Man Watching the News was taken on a cool summer’s eve in downtown Salt Lake City. Furner and a fellow photographer set out to capture some of the Pioneer Day festivities, and Furner came upon a homeless man watching KUTV’s broadcast, just outside the Wells Fargo building where the news set is located. A blogger posted this comment about the photograph: “[This photo portrays] a good story because it breaks the stereotypes of homeless people.”

Judith Gustafson


College of Fine Arts student
Home Number 1
Oil on canvas, 2014, 24” x 24”

Gustafson utilizes elements representing tradition, learning, and security to create an impression of peace in this direct painting. In a series of 10 paintings she uses the similar motifs for a visceral internal feeling of home. Shadows suggest memories; muted colors give depth, while books convey age-old wisdom. Weather-beaten, the nest is resilient, fundamentally solid, inspiring wonder at its creation. The gleam of goldfish through the glass lights the piece with surprise. Gustafson says her creativity is inspired by feeling.

Kerry W. Jones


Photography Instructor, Communications Department
Cowles Building 1984
Scanned black and white film negative, printed on watercolor paper, 2014, 24” x 20”

Cowles Building 1984 is from an original black-and-white film negative created in the fall of 1984. The high-resolution scan of the image was created in April 2014.

The image is a pigmented ink-jet print on watercolor paper, mounted on a standard stretched canvas with an acrylic background. The piece is covered with a clear acrylic layer for archival permanence and protection. “I wanted to liberate my images from being hidden behind very reflective glass.”

Judy Kiel


Web Content Specialist, Continuing Education
Neon Bones
Photograph, 2012, 11” x 7”

In making photographs, Kiel often strives to communicate a sense of place, similar to the theme of this show. She always looks forward to her next travel adventure, be it in Utah or further afield. Kiel has taught for Technology Education, the Department of Communication at the U, and the Salt Lake Art Center Photography Department. In addition to her place-based photography, Kiel is the photographer for the Stick Figure Racing Team (auto racing), as well as being one of the drivers.



Adjunct Assistant Professor, Art & Art History
SLC Blue
Oil on canvas, 2010, 36” x 18”

Konopasek was born in the Czech Republic where she attended the School of Applied Arts in Prague. After immigrating to the United States, she received a BFA degree from the University of Utah and an MFA degree from the Maine College of Art in Portland, Maine. Konopasek attended artist residencies in the Vermont Studio Center, the Chicago Art Institute, and in Little Falls, Minnesota.

“In my work I often search for double meaning. This painting portrays the city imposing on the natural landscape and at the same time being confined by it. It explores themes of the sublime force of nature over landscape and human interventions.”


JAMIE A. KYLE – President’s Award

MFA student
As a Stage
Archival inkjet print, 2014, 24” x 20”

Kyle’s chosen medium is photography, with particular interest in analog film cameras. When creating her work, she strives to create her own environments in which to photograph. This allows for control of all external factors and lends Kyle’s images the unique feeling of very small and intimate spaces.


JEFF MAUGER – Merit Award

Project Administrator, Facilities Management
Acrylic, 2010, 23.5” x 18”

Mauger’s paintings combine a unique blend of realism and impressionism. He received a Bachelor degree and a Master’s degree in Fine Art from the University of Utah and has taught painting and drawing at both the U of U and Salt Lake Community College. His landscape paintings, in particular, have been widely received, and his artwork can be found in both private and corporate collections.



Associate Vice President for Health Sciences, Special Projects
A Street Scene in Heber
Watercolor, 2012, 12” x 9”

Mauger’s paintings are based on the work of English watercolorists John Yardley, Edward Wesson, and David Curtis. Mixtures of earth colors with blues, such as raw umber with ultramarine blue, give a rich array of grays. Instead of black he favors indigo blue, which can be mixed with burnt sienna to create a luminous dark color. Edges and values are important to his paintings, and figures give a sense of scale. This painting entitled A Street Scene in Heber was painted from a photo taken after a dinner at the Snake Creek Grill located across the street from this scene.



Biology Department
Acrylic on masonite, 2014, 24” x 48”

Morrison has spent over a decade working in the licensing industry, designing for clients such as Nielsen Bainbridge, Marian Heath Greeting Cards, and Sandylion. A summer of study with Ovanes Berberian inspired her interest in painting landscape. She then devoted nine years of practice to developing her style. She selected Delicate as her show entry because the image is iconic of Utah’s outdoor beauty. “The arch is fabulous, but it’s not the stone itself I find intriguing—it’s the idea that the arch is a doorway into a world waiting to be explored.”



Assistant Professor, Art and Art History Department
Winter Red Butte
Digital print, 2013, 20” x 20”

In this work, Novak manipulates a succession of images to create an intimate, unified, circular image. “In my view they are like worlds unto themselves, secluded and removed floating in space. They are a collection of individual images that have been digitally stitched and merged together and then manipulated to create a distinct point of view, often from an angle that is impossible through traditional methods. It is unrealistic to look and see landscape in this way, but in the digital world we can view our environment through ways we could not have seen by any other means.”



Grants Manager, Utah Museum of Fine Arts
Despite Straight Lines
Acrylic and mixed media on board, 2014, 9” x 12”

Despite Straight Lines is one of a group of pieces created for an exhibition at the Salt Lake City Public Library’s Main Gallery in early 2014. “In that body of painting and drawings I departed from my almost-all-figurative background to landscapes, semi-abstract compositions, and mixed media collage, inspired by the building itself, the quiet moments where light and form come together into compelling arrangements of light and shadow. I trolled the building
on brightly lit days in particular, drawing and photographing these spaces that caught my eye— which, invariably, turned out to be the
‘in-between’ passages regularly seen but rarely invited into
the spotlight.”



English BA student
Through the Storm
Pigment print, 2014, 20” x 16”

Rathke has studied art, art history, and English at the University of Utah and the School of the Museum of Fine Art Boston. She is currently finishing an English degree at the U. Rathke has tried to integrate her academic pursuits in art history into her own work, focusing on human interaction with the land, both urban and rural. Her work has been shown in California, Massachusetts, Oregon, Utah, and Vermont.



BFA student
Constructivist View of the S.J. Quinney College of Law
Ink-jet print, 2014, 14” x 11”

Rosenzweig is a senior at the U with an emphasis in photography and a minor in art history. He is a recipient of the Carmen M. Christensen Scholarship for the 2014-2015 school year. Rosenzweig’s most recent projects in photography have focused on constructivism and photomontage. He says constructivism and photomontage are effective at “exposing the gaps between life and art.”



MFA student
Oil on canvas, 2014, 40” x 30”

Sinner is interested in cultural symbols that migrate from “high” to “low” and back again. “Cultural understanding is constantly mobile in relation to ‘stuff’ viewed through a post-modern lens. Depending on the context, a car has many turns into a myriad of things — none of these are strictly related to transportation.” More paintings can be viewed at



Associate General Counsel
Bands of Color – Beck Street, Utah
Digital photograph, 2010

“Travelers moving by car or rail between Salt Lake and Davis counties pass through an industrial zone where gravel pits and refineries dominate the landscape. Few call Beck Street home; for commuters it is nothing more than the highway of unavoidable space between where they came from and where they are going. But a study of the scene yields wonder as the land is distinctly and gorgeously marked with the costs of its utilitarian service.”



Student in Art & Art History Department
I Know I Am
Mud cloth, kente cloth, found objects, 2013, 9” x 9”

Spears is a very passionate artist who inspires with a presence of humbleness and pride. Her inclusion piece I Know I Am, expresses a personal journey of finding her place in the world, while embracing her past into the future. “This is a book of coin collections from visitation of one’s heritage, re-visited in recognition of ancestral spirit.”



BFA student
Colonize Everything!
Mixed media, 2014, 11.5” x 11.5”

This piece is meant to reference suburbia and the American west.



Computer Science student
Photograph printed on aluminum, 2013, 30” x 20”

Welling specializes in landscapes and general portraiture. This image was taken on the shore of Great Salt Lake. It features some of the pylons from Saltair I. It was taken in late May of 2013, near sunset. Welling says, “I chose monochrome because I felt the composition is stronger that way, than in color. I wanted to capture the sense of history with these pylons. They have stood the test of time, so far, and they belong here, as part of the history of the lake. This is one of my most popular pieces and certainly one that I am very happy with.”