About a month ago I met a woman who was in the middle of weaving a baby blanket for her soon-to-be-born great-grandson. Sitting at her loom, I could plainly hear the love and care she had for this child that she hadn't even met yet. As she ran her hand over the woven fibers she said something that struck me: "I might not be around when this kid grows up and has a family of his own...but this blanket sure will be!" Immediately I was overwhelmed with reminders of all the handmade things that have been given to me-- a crocheted stocking from my great-grandmother, a knit rabbit from my mom, countless friendship bracelets from girl's camp, blankets from my grandmas etc. ​ The textile art that we create and pass on beautifully acknowledges the reality that we'll leave our loved ones behind, but simultaneously harnesses our divine creative abilities to immortalize our love for them. These objects have the capacity to outlive us and link generations, this collection of original oil painting is a celebration of the humble handmade textiles that remind us a truth as simple as the fiber it's made from: That our love fore each other transcends both time and mortality.

Challenge the shallow materialism of the American holiday season. Reconnect with symbolism, culture, and meaning through locally crafted objects. ​Curated by Esther Hi'ilani Candari Artwork by Kwani Povi Winder Ima Hale Siwa Allred Janet Mckenzie Emily Larsen Emilie Buck Lewis Megan Geilman Jeff Goodwill Mark Bigelow Esther Hi'ilani Candari Juliana Lake Diaz Leroy Transfield Nancy Andruk Olson Aelias Mecham November 25 - December 22, 2022 Each of the artists in this show was asked to create objects that express their culture and/or connect with the deeper meanings and symbolism of the Christmas season. In a season that is synonymous with tinsel and cheap glitter, this collection of work serves as a counterpoint to meaningless mass produced kitsch.

Curated by McArthur Krishna ​Participating Friends/Artists: Anne Gregerson Char Weiler Claire Tollstrup Elizabeth Sanchez Esther Candari Kathy Peterson Katrina Berg Laura Erekson Laurie Lisonbee McArthur Krishna Nicole Woodbury Rose Datoc Dall Diwali is the celebration of light over dark. In India, women of the house hang a toran across the doorway-- a festive moniker indicating the house is blessed and protected by deity. You are literally entering sacred ground. As I think about our earth life as a journey, I want to see it as protected by deity. The experiences may be glorious or demanding— but I want to have the vision to see these moments as part of our Parent’s plan. What I go through, learn from, and grow into is necessary. Experiences are not pointless but a worthwhile culmination. My life is blessed. I asked some artist friends to create a piece that showed an aspect of a woman’s life. They have outdone themselves. Interpretations of joy, sisterhood, regression, celebration, mourning, learning, resting, work. We all have experienced each of these. Somewhere, someone, right now is in the middle of one of these. And so, we present you Doorways to Divinity— enter sacred ground. May our lives be seen as blessed.

Various Artists In Person 11/4-11/19 Online 11/4-12/31 ​ On October 30th, Mary Brickey, a beloved local artist,  lost her right leg at the knee in a motorcycle accident in Provo Canyon when her brakes went out. She was life-flighted to a hospital in Murray and has had multiple surgeries and a plentitude of miracles. ​ The art community has rallied to put together this show to raise funds for her medical expenses. All of these pieces were generously donated and all proceeds from this show will be donated directly to Mary.

Anatomy of a Soul is my offering to connection and community: for it is only when we see ourselves in each other that we can truly walk in unity. Connection, I believe, is what will save humanity. October 7th - November 5th, 2022 Each piece of my soul displayed here is offered as a point of connection. Ranging from physical and emotional pain to societal and personal distress I hope that every viewer not only views these pieces as those of my own soul but also as pieces of their soul as well. As Dr Martin Luther King Jr. said, “It really boils down to this: that all life is interrelated. We are all caught in an inescapable network of mutuality, tied into a single garment of destiny. Whatever affects one destiny, affects all indirectly.

A collection of pencil on paper portraits of LDS prophets, inspired and molded by the rich tradition of cubism. October 08, 2022 - November 02, 2022 In 2006, I was on my mission in New York City. On my first P-day I walked through the doors ofthe Metropolitan Museum of Art with intent to love everything in there. Once I was in thegalleries, I was transported to a world that I never knew existed consisting of knights in armor,sculptures by Rodin, and Pablo Picasso Cubist portraits from when he was a young adult livingin Paris. All of the faces and bodies were manipulated to look like the image of someone insidea shattered mirror. They were colorful and vibrating with movement. After my visit to the MET, the wheels in my head started turning. How would the lastdispensation of prophets, seers and revelators look if they were portrayed in cubist form? Wouldthe general church-going public be able to recognize them? Would our perception of themchange at all? It was a long process, but through the last fifteen years of making a family andgrowing my career, I have been drawing these ideas onto paper. There have been seventeen presidents of the Church of Jesus Christ of Latter-Day Saints. Wehave never seen images of these brethren other than in photographs and realistic paintings.What I wanted to do with their portraits was take the most distinct elements of their bodies andfaces, and distort them in the Cubist method as I saw in the Met years before. This way, we cantruly understand how to notice someone by the shapes of their faces and how simple they reallylook. Their appearances may be distorted, but if we truly know someone, we will recognizethem.

A collection of new work exploring progressive passages of scripture through early and recent church history. August 19, 2022 - October 4, 2022

There’s an AA acronym for FINE: f***ed up (or freaked out if you prefer), Insecure, Neurotic and Emotional. So when someone asks you, “How are you doing?” A more honest response would be the AA acronym of “I’m FINE.” I think flowers represent our universal desire to appear like we have our shit together. Historically, the still life genre is about demonstration, or even showing off the artist’s skill level. It’s also an opportunity for the patron to show what great taste they have. Both participate in putting forth a glossy version of their “best face.” While not technically a religion, my husband claims that Alcoholics Anonymous is his church. His mom found sobriety when he was 6 years-old and from then on he accompanied her to all her meetings. There’s an AA acronym for FINE: F***ed Up (or Freaked Out if you prefer), Insecure, Neurotic and Emotional. So, when someone asks you, “How are you doing?” A more honest response would be the AA acronym of “I’m FINE.” I was the middle child of 4 sisters and 2 brothers in a large 1970’s split-level house in Pasco, Washington. We had a swimming pool, horses, four wheelers, and as we turned into teenagers a fleet of Toyotas…a car for each driver! My dad worked as a medical doctor and my mom was a stay-at-home mother artist turned interior decorator/antiques dealer/silk florist/business owner. In 2011, I got married. I was 29 years old. I had always wanted to get married and had grandiose ideas as to what marriage should look like. My parents are still married to this day, and they rarely fight. I’ve never heard my Dad say a swear word. I had a real shocker of a time my first year of marriage! My husband had only been sober for 6 months. I became an instant stepmom to his then 3-year-old, and overnight I went from having sufficient funds for a single gal, to large legal bills of a custody battle, food stamps, church food orders, bills going to collections, a really old rental house, and worst of all, a dog owner. (I’m terrified of dogs.) On top of that, I had married my divorced mother-in-law’s only child, her all, and her everything. I felt tricked: I thought I had agreed to marry one person, but in reality, it was three people and one dog. It didn’t look or feel anything like I thought marriage would be. I cried every weekend the first couple months of our marriage. (Now I’m in therapy and I know what all the tears were about: GRIEF). So much sadness and disappointment about what this supposed blissful married life was actually like. I spent years feeling overwhelmed, verbally abused, and obligated. My husband came out of a difficult childhood with a single mom, who had a schizophrenia diagnosis and alcoholism, quite the opposite of my big happy Mormon family. I definitely heard him say swear words, even big ugly ones directed at me. I was devastated, codependent, and broke all the time. It was super lame and I hated it. These paintings are where I’m at right now: 40-years-old, 11 years of marriage with two children that I birthed and one lovable 14-year-old freebie, a loving and ever-evolving husband who does not swear at me anymore with years of sobriety under his belt. He’s processed some of his crap and we aren’t as broke, plus I’m a lot tougher than I used to be. It’s a beautifully messy, rich and full life. It’s FINE. Everything’s FINE and it’s okay. ​

Curated by: David Chapman Lindsay Kamilla Earlywine ​ Work by: Adah Bennion Bryn Burningham Kamilla Earlywine Megan Knobloch Geilman David Lindsay Ron Linn Travis Lovell Ryan Simmons Camilla Stark Jared Tamez Clinton Whiting Christopher Woodward Utah Lake is critical for the ecological stability of Utah Valley. It is the largest freshwater lake in Utah and a habitat for millions of birds, fish, and other wildlife. This body of water has also been a focal point for both Utah artists and those traveling through the region for more than one hundred and fifty years. In this exhibition, artists were asked to address the aesthetics and environmental impact of the recent proposal to build commercialized islands in the middle of Utah Lake. The proposed islands would collectively span 18,000 acres, housing thousands of new businesses and residents, permanently altering the iconic landscape of Utah, and the centerpiece of our valley. ​ Any proposal to develop a large portion of our public lands should be confronted with critical scientific inquiry. Such proposals should consider the effects of increased population, including availability of water and other resources, pollution and air quality, preservation of native flora and fauna, and the overall beauty of the landscape. What quality of life are we leaving for future generations? How might the excesses of real estate and commercialization of our valley threaten the beauty of a landscape that has inspired artists and travelers alike for a century and a half?

Two collections of photographs and writing exploring the experience of black individuals and families in Utah. Taylor Grayson & Maddie Casagranda June 14, 2022 - July 6, 2022

She was here before I came into the world and will be here when I am gone. ---- The tulips leaned into each other as if they were huddled in conversation. And when the wind came they danced and swayed in unison. And when the and stopped they leaned on one another. She sighed as she studied them --- if only she was a nestled tulip. ---- To birth and life and death. Be it celebration, pain, joy or sorrow --to the beauty and complexity and validity of it all. ---- Her heart was always too big for her body but managed to somehow stay contained until that great and terrible day when it burst from her exterior shell and was exposed for all to see and all to judge. And her heart had the space to beat, filling her being with strength, and her lungs had the space to breathe, filling her being with life. She was finally making space for herself--- and it was freeing. The carrot from the garden spoke truths. ---- Due to the constant and extreme heat the actual carrots were small and deformed but the blooms on top were explosive. While in duress instead of putting all there energy into their roots the carrots shot up into large blossom searching for the sky that would soon go to seed.  And she wondered, where was she channeling her energy? Her roots or her blossoms? ---- California poppies really are one of the most resilient and radiant of flowers. Their cheery disposition in an environment where most things struggle to even grow is an inspiration. I want to be a California poppy. ​

May 7th - June 2nd, 2021 Bethany and I knew our daughters— and many grown ups— were ready to dive into the gospel truth of Heavenly Mother. We knew it would benefit girls’ self worth and divine destiny. We knew it would benefit boys to see a more powerful view of womanhood. We knew that understanding more of the divine model of Heavenly Parents working together could benefit marriages. We believe that embracing truth will bless the whole earth. But in writing A Girl’s Guide to Heavenly Mother and A Boy’s Guide to Heavenly Mother, we hit a very serious challenge. Doctrine says nothing about what She looks like... and we wanted images of her to be real and tangible. However, no ethnicity or culture should have exclusive rights on divinity. She is a GODDESS and needed to be portrayed as expansively as we could imagine. Visions of Heavenly Mother was born — 53 pieces of art from around the world created by artists with their best efforts and brave attempt to show divinity. Artists from New Zealand, Lebanon, Cambodia, Nigeria, South Africa, Philippines, Argentina, USA and more contributed to our vision of Heavenly Mother. They showed their own earthly mother, women they knew, and a Heavenly Mother we yearn for. We hope one of these visions resonates with you. And, most of all, we hope you feel you are LOVED perfectly by your Heavenly Mother. Because, you are. -McArthur Krishna Visions of Heavenly Mother features paintings from dozens of LDS artists from around the world. The works featured in the show were used to illustrate the recently published Boy's and Girl's Guides To Heavenly Mother, by McArthur Krishna and Bethany Brady Spalding. Krishna's literary, artistic, and curatorial practices are centered on a narrative toward clarity, communication, and closeness with the divine feminine. Participating artists include: Katrina Berg, Melissa Kamba Boggs, Joumana Borderie, Esther Candari Christiansen, Crystal Suzanne Close, Lisa Aerin Collett, Ashly Correia, Sherron Valeña Crisanto, Ben Crowder, Sherron Valeña Crisanto, Rose Datoc Dall, Lisa DeLong, Laura Erekson, Linda Etherington, Rebecca Everett, Sage Gallagher, Michelle Gessell, David Habben, Lisa Jensen, McArthur Krishna, Emilie Buck Lewis, Normandie Shael Luscher, Shari Lyon, Sopheap Nhem, Richard Lasisi Olagunju, Jenedy Paige, J. Kirk Richards, Kathy Peterson, Kwani Povi Winder, Heather Ruttan, Elizabeth Sanchez, Colby Sanford, Rick Shorten, Allen TenBusschen, Michelle Franzoni Thorley, Courtney Vander Veur Matz, Samuel Walker, Clint Whiting