Artists

John Sproul grew up in Simi Valley, California, and Orem, Utah, and studied art at the University of Utah and Brigham Young University. John and his wife, Emily, who is also an artist, lived for many years in Los Angeles before recently moving to Salt Lake City. They now live in the Sugarhouse neighborhood with their three sons where John serves as high priests’ group leader and chairs the community council’s Arts and Culture Committee. John begins his pictures by finding the desired expressive gesture and body language, but the surfaces of his paintings and drawings are as intriguing as the subject. He builds layers of acrylic paint onto paper or canvas to create a richly textured surface. The colors vary greatly in value and intensity but are layered in such a way as to create a vibrance and a sense of history—as if the surface has been used for many years. The sense of history contin￾ues in how John draws and paints, leaving early blocking in and gestural drawings in place as he establishes the final position and gesture of the figure. John’s drawings and paintings are centered around the human figure, which he uses to explore personal and universal themes. Referring to his work as “a dialogue of thought, both conscious and subconscious, realized in paint,” he believes that “one can come to know the spirit or self through the body and by exten￾sion the universal through the individual, the infinite through the finite.” In his work, John uses the figure and body language to reveal individual characteristics but also seeks to resonate with viewers on a larger level, as fellow human beings. As viewers, we bring an instinctual understanding of body language and the subtle cues of facial expression and gesture to our understanding of the work and a communication is established. We identify with the figures in a way that, as John says, “we are aware of, but never able to define.” More of John’s work can be seen on his website: www. johnsproul.com.

In my earlier drawings I focused on line and the wealth of information it could convey. Now I am working through the challenges of color and value in the context of issues I have continued to explore for the past twenty years. The American landscape is cloaked in cultural opacities and cluttered with human debris. I contend that no one with a twentieth-century eye can see through the layers of artificial meaning and histories we have imposed onto this finally impenetrable continent. So, rather than trying for that ever-elusive glimpse of a landscape or history in its purity, I choose to draw the perceptions and impositions between us and a place we cannot know. In my paintings of America, I am far more concerned with repre￾senting and questioning cultural and visual expectations than with illus￾trating a scene. In a sense, my paintings and drawings are anthropologi￾cal; in them, I often dwell on the values, activities, and events of ancient and contemporary cultures, “tracing” the traces they left behind. I am es￾pecially intrigued by the events through time that tie seemingly unre￾lated people and events together in broad cycles: ancient sea voyages, a people migrating to a refuge in the desert, epic battles, a promised land inhabited by many self-chosen peoples that either prosper or suffer be￾cause of their activities on the land. All of my work, in some way or another, is about landscape and how we see ourselves through it and impose our values on it. My paintings are both referential and highly interpretive, depicting panoramic views of specific locations. They deal with our perceptions of time, social and en￾vironmental history, and tend to look like maps, but my “maps” are not accurate according to cartographic expectations. These are maps of time, culture, dreams, perceptions, the future, and how we wish to see ourselves and our history. They invite the viewer to become lost in them and then to make conscious and intuitive sense of the perceptual envi￾ronment. I twist perspective, visually and historically. Because of the jux￾taposing of unrelated buildings and events, each scene could be hun￾dreds of years in the past, or in the process of being constructed, or in the future after everything has been torn down, destroyed, or worn away. All things—time, history, memory, and perceptions—are present in these paintings.

Ricky Allman was born in Provo, Utah, and studied art at Utah Valley University, Massachusetts College of Art, Brown University and Rhode Island School of Design. He now teaches painting and drawing at the University of Missouri-Kansas City.

Lee Udall Bennion and her husband, Joseph Bennion, both descend from a long line of pioneers. They live in Spring City, a Utah village, where Lee paints and Joe makes pottery, which he fires in a wood-burning kiln. They call their dual artistic endeavor Horseshoe Mountain Pottery {http://HorseshoeMountainPottery.com/}. They have three daughters, who share their passion for gardening, riding horses, hiking in the nearby mountains, and rafting on wild rivers. Lee’s paintings have appeared in many group and individual exhibi￾tions and have achieved a number of awards. Over a hundred images dat￾ing from 1983 to 2008 are available for viewing on their joint website. All her paintings are in frames that Lee has hand-carved and painted. Her subjects are domestic, local, and familial. She predominantly chooses to portray people. However, she insists that “portraiture is not my main con￾cern. My painting deals with form, color, and feelings foremost.” There are also landscapes and still life paintings which, she says, “tell more how I feel about a place or a set of objects than what they actually look like.” In￾variably, her subjects appear in simple, sparse settings. Often they merge into symbols. For example, a painting of 1993, Divine Meditation, shows a woman (likely Lee herself) whose head and elongated neck are suffused by an aura of light. The painting on the back cover of the present issue of Dia￾logue portrays a child—perhaps Lee’s grandchild—with wings and a spotted dog. In such paintings, the ordinary and commonplace mingle with the transcendent and divine. Although her Mormonism is rarely explicit in her paintings, her faith underlies all of them. “I hope my love for God’s creation and my fellow human beings shows through,” she said in a recent interview. “Everything I do reflects my religion.”

Sharon Alderman has been weaving cloth by hand since 1969, specializ￾ing in apparel fabrics, upholstery, and color studies. Her work has won many awards, and she lectures, gives keynote addresses, acts as a juror, and leads workshops for guilds, art centers, colleges, and state, regional, and na￾tional conferences. Her writing and work have appeared in Shuttle, Spindle & Dyepot, Interweave, Textile Artists’ Newsletter, and Handwoven, and her books include Handwoven, Tailormade, A Handweaver’s Notebook, and Mas￾tering Weave Structures, all published by Interweave Press, Inc. She lives in Salt Lake City where her fabrics are on exhibit at Phillips Gallery. More in￾formation is available at http://www.sharonalderman.com/.

Jacob Fossum has little sense of belonging to a specific place, having lived in a number of states while growing up. He currently lives in Sacramento. He derives from a long line of Mormon pioneer stock, and he served an LDS mission in Argentina. He says his Mormon heritage and his experi￾ence as a missionary infuse his art, providing “a profound pool of myth and symbols from which I can dip, then compare and relate to others around me.” When he showed an interest in painting upon completing high school, his mother—a baker—traded bread for private art lessons from a local portrait painter, Martha Lower, to whom he acknowledges a great debt. He holds a bachelor of fine arts degree from Utah State University and a master of fine arts in studio painting from Hoffberger School of Painting, Maryland Institute College of Art, Baltimore. He has partici￾pated in group shows and recently a solo show, “Ganesha Gone Wild” and other paintings in the Rodger LaPelle Galleries in Philadelphia. “I find honesty,” he writes, “in trying to create images that reflect the spiritual and physical truths of my surroundings. . . . Attempting to render images as I see and feel them is akin to my attempts at sensing truth.” For more about his life and art, visit his website at www.jacobfossum.com.

Anne Muñoz resides in Salt Lake City with her husband. Trained in art and textile design, she worked as a free lance graphic artist for many years but continued to produce her own artwork, taking part in art festivals, juried shows, and exhibits. Her creative interest has centered on batik art, which involves the application of wax to textiles in order to achieve layered shades of color.

The American-born Allan West has become widely respected for his pur￾suit of a traditional form in Japan. Raised in Washington, D.C., Allan served in the Okayama Japan mission during the early 1980s. In 1987, he returned permanently to Japan to pursue his art because he found that the Japanese attitude toward nature accorded more closely with his own sentiments. He and his wife and their three children live in Tokyo, where they are active members of an LDS ward. Allan graduated from Tokyo University of the Arts in 1992 with an MFA degree

Born in Park City, Utah, Hal Douglas Himes earned a B.A. and MFA from Brigham Young University where he trained in painting, drawing, and printmaking. Acknowledging Paul Klee and Rufino Tamayo as strong influ￾ences, he also credits his BYU mentors Wulf Barsch, Alex Bigney, and Alex Darais as important teachers.

Born in upstate New York, Dianne Dibb Forbis received a B.A. in Art from BYU. Currently residing in Orem, Utah, she has three daughters and twelve grandchildren. For twenty years she had full and part-time employ￾ment in the printing and greeting card industries involving advertisement ideation, product design and presentation, marketing, writing, and edit￾ing. For many years, she did formal art works on a personal basis only, ex￾ploring possibilities in tempera, pen-and-ink drawings, and collage. She was once employed as an elementary school art teacher and gave private art lessons to children. She also taught English in the California public school system and as an adjunct faculty member for a junior college, engaging in freelance writing and publishing poems and articles in regional and na￾tional periodicals. In 2000 her narrative poetry book about Alzheimer’s was published. After her husband’s death from early-onset Alzheimer’s and during her own continuing struggle with illness, Dianne returned to a determined professional involvement in art. Collage, her current medium and approach, is a metaphor, she feels, for her life task in recent years of having to pick up all the pieces and make something new and meaningful. Her work has been in shows throughout Utah. She has been commissioned by private individuals to do collages based on scripture.