Nathan Mulford  //  Heidi Almosara  //  Kasey Lindley

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Fiery Furnace, $2,000

Kasey Lindley, Mother:Landscape
Friday, October 2 – Friday, November 13, 2020

Nature, the act of play, and technology are the main subjects that I explore. With each theme in mind I create multimedia installations that evoke an awkward and playful sense of energy and humor. My aim is to transcend the barriers of a given art medium, and to blur the boundaries between disciplines.

My interest in landscape and nature derives from the American southwest in which I was raised. I grew up surrounded by incredibly beautiful landscapes that continue to amaze me, and my early fascination with the outdoors grew into obsession. As a result this work is a response to, and exploration of, environmental concerns. Cell phone towers fabricated to look like trees parody our cultures conflicted need to exploit and conserve the earth. Using a wide range of media, I wish to articulate, understand and emphasize the artificial within contemporary landscapes. In this particular project, I am influenced by Ecofeminist theory. This exhibition presents visual interpretations of the Utah landscape, along with ruminations on the correlation between the treatment of the natural world and women within a patriarchal society.

BIO: Kasey Lou Lindley was born in San Francisco, California and raised in Utah. She studied at the New York Studio Program, received her BFA from the Ringling College of Art & Design, and her MFA from the University of Connecticut. In 2017 she was the recipient of the Cynthia Eyre Award and the Melusine Award for Painting from the Honolulu Museum of Art. She currently lives in Holualoa, Hawaii and works for the Holualoa Foundation for Arts & Culture.

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Dammeron, $900

Nathan Mulford, Tributaries
Friday, October 2 – Friday, November 13, 2020

Water is incredibly powerful and has the ability to shape our environment over time. It can carve canyons, move boulders and even wash away communities. I am fascinated by erosion – how it reveals the age of our planet, uncovers treasures from the past and provides a perspective of where we fit into the history of our planet. Water gives us a view of our place in time. 

I am intrigued by the different paths water can take over years. A river bed is always changing. The process of water erosion served as an important metaphor for me in producing this work. My process for these paintings involves pouring paint on the canvas, letting it flow where it will, covering up parts of it with other layers of paint and then repeating the process by pouring more paint on and letting it flow naturally across the canvas. New layers form only to be stripped away again. By doing this, I hope to replicate the way a flowing body of water can change its course throughout time and, by doing so, alter the landscape of the surrounding area. 

I also impose logic and geometry to the canvas the same way we, as humans, impose our logic on the landscape, only to have it marred by the power of nature. This body of work explores the tension we have with our environment, the desire to control what is around us, and the anxiety we feel when we realize that we must submit to forces that are beyond our command.

BIO: Nathan Mulford is a contemporary abstract painter who lives in Salt Lake City, Utah. His artistic style is inspired by the colors and textures of Utah’s desert landscapes. His paintings explore the juxtaposition of concrete and abstract elements of memory, and how these elements inform personal narratives. He earned a Bachelors of Fine Arts from the University of Utah with an Emphasis in Design in 2010.

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Willow Tunnel, $2,850

Heidi Almosara, Botanical Concrete
Friday, October 2 – Friday, November 13, 2020

My work is heavily influenced by the immersive cultural experience that I have received from living in Japan. I have branched out to the art form of ikebana to further expand my artistic sensibilities. Studying at the Sogetsu Foundation in Tokyo, I have discovered a truly meditative mindset that is a catalyst for spontaneous creativity. I am enamored by the technical prowess required to create from the organic and the intrinsic connection that I can have with the natural materials. These attributes have paved the way for my current body of work.

Ikebana is the Japanese art of flower arrangement in which nature and humanity are brought together in harmony; both the artist and nature work in a partnership to generate a beautiful moment sparked by the arranger’s innate sensibility towards natural materials. There is a meditative mindset as the artist transfers the creative energy to ikebana; one becomes quiet. This time allows the artist to live in the moment and to have an appreciation for nature; a simple and sublime moment. The founder of Sogetsu, Sofu Teshigahara states that “flowers become human in ikebana.” He believed that the artist would become closer to their work if they connected nature to humanity. I initially became interested in ikebana after attending a performance in Tokyo by Shuho, the Master of Ikebana at the Ginkaku Jisho-ji Temple (Silver Pavilion) in Kyoto. Shuho encourages people to consider plants like human beings, living entities with their own individuality and to appreciate their fundamental nature.

Using the philosophy of ikebana, I have conditioned myself to seek a meditative mindset in an effort to transfer the creative energy to both 2D and 3D works. The drawings represent past ikebana creations that are captured in time and haven’t allowed to wither. Through pen and ink drawings, the imagery reveals detailed segments of ikebana forms that highlight its unique essence. The botanical sculptures are created with dried plant materials and inverted cast concrete. This combination of materials suggests many things such as: the interaction of opposites, the naturally occurring and the anthropogenic, and the fragile balance between what exists and what we create. The dialog between these materials extracts a unique relationship that sheds light on how contrast can bring balance, order, and harmony. And thus, this state of harmony connects with the influential character that humans have in nature.

BIO: Heidi Almosara received her B.F.A. from Texas Christian University and an M.A. and M.F.A. from the University of Dallas in Texas. Heidi also completed the MI-LAB Artist-in-Residence Mokuhanga Program in Fujikawaguchiko, Japan. She has had exhibitions in the continental US, including Alaska and Hawaii, as well as, but not limited to, Russia, Peru, Japan, New Zealand, Finland, Taiwan, and Guatemala.

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