Exhibition

Jiyoun Lee-Lodge describes herself as “a self-exiled Asian, woman, mother, and social media addict.” She is a recent transplant from New York, and her work in the Waterman the Stranger series describes her experience as a new Utahn.  Struggling to settle in a place that looks and feels so different from the jungle of skyscrapers that she knew, she asked herself, “If I mimic what an ideal life looks like here, will I blend in well?” In each piece, she illustrates herself as shifting water that repels, absorbs, reflects, and fails, showing the figure’s struggle (her own struggle) to find a place.

Lee-Lodge’s Waterman the Stranger series is paired with an earlier body of work called Mindscape, which the artist describes as portraits of her senses—touch, sight, smell, and so on—frozen in time. Influenced by infographics, animations and hieroglyphs, her work as a whole explores how identity is constantly in flux.

Jiyoun Lee-Lodge is a Korean-born, Salt Lake City-based artist. She recently won best in show at the 2019 Statewide Annual Mixed Media & Works on Paper Exhibition.

Jiyoun Lee-Lodge: Paisaje Mental

Jiyoun Lee-Lodge se describe a sí misma como “una autoexiliada asiática, mujer, madre y adicta a las redes sociales.” Ella es un trasplante reciente de Nueva York, y su trabajo en la serie Waterman the Stranger (Waterman el Forastero) describe su experiencia como una nueva Utahn. Luchando por establecerse en un lugar que se ve y se siente tan diferente de la selva de rascacielos que conocía, se preguntó: “Si imito cómo es una vida ideal aquí, ¿memezclaré bien?” En cada pieza, se ilustra a sí misma como agua en movimiento que repele, absorbe, refleja y falla, mostrando la lucha de la figura (su propia lucha) para encontrar un lugar.

La serie Waterman the Stranger de Lee-Lodge se combina con un cuerpo de trabajo anterior llamado Mindscape, que la artista describe como retratos de sus emociones y sentidos (tacto, vista, olfato, etc.) congelados en el tiempo. Influenciada por infografías, animaciones y jeroglíficos, su trabajo en su conjunto explora cómo la identidad está en constante cambio.

Jiyoun Lee-Lodge es una artista nacida en Corea, con sede en Salt Lake City. Recientemente ganó el mejor espectáculo en la Exposición Anual de Medios Mixtos y Obras en Papel en todo el Estado de 2019.

Virtual Tour
visita virtual en español

Xi Zhang: Un batido de polvo de sueños

The Park City Professional Artists Association will present an interactive display of the best of Summit County local artists, their work, and creative explorations with accompanying stories, demos, and studio artifacts demonstrating the creative process. The makers in our community, who spend long hours making beautiful art, will display examples of their finished work. They will also engage the public by discussing and demonstrating process and technique as well as answering questions about the creative journey. The exhibition will visually represent the creative process in a variety of ways, including visual representations of the progression of stages their art progresses from concept to finished product and real-time demonstrations.

Demo Schedule

Tuesday, 12/3, 1-4pm • Carol Granger
Thursday, 12/5, 1-4pm • Nan Gray
Saturday, 12/7, 1-4pm • Karen Millar Kendall
Tuesday, 12/10, 1-4pm • Jenny Terry
Thursday, 12/12, 1-4pm • Richard Pick
Friday, 12/13, 2-5pm • Jenny Terry
Friday, 12/13, 5-8pm • Jeanne Hansen
Saturday, 12/14, 1-4pm • Corinne Humphrey & Mary Perry
Tuesday, 12/17, 1-4pm • Karen Millar Kendall
Thursday, 12/19, 1-4pm • Nan Gray & Karen Urankar
Saturday, 12/21, 1-4pm • Juanita Marshall
Tuesday, 12/24, 1-3pm • Anna Moore
Saturday, 12/28, 1-4pm • TBD
Thursday, 1/2, 1-4pm • Frances ReMillard
Friday, 1/3, 1-4pm • Ida Yoked
Saturday, 1/4, 1-4pm • Frances ReMillard

Kimball Art Center’s creative journey will be on display in the Cafe Gallery. More than 50 local artists will be presenting small-scale pieces, each one a maximum size of 12 x 12″. Over the past four years, Kimball’s temporary home at 1401 Kearns Boulevard has been activated by the creative energies of hundreds of artists, from our teachers to our exhibiting artists to the artists who participate in the annual Monster Drawing Rally and more. In this exhibition, their work comes together in an exciting convergence of diverse styles, subject matter, and media.

This is my gift to you, this story that is also a song, these words that are a part of Fokir. Such flaws as there are in my rendition of it I do not regret, for perhaps they will prevent me from fading from sight, as a good translator should. For once, I shall be glad if my imperfections render me visible. —Kanai, the translator in Amitav Ghosh’s The Hungry Tide

In translation, the voice of the translator is generally considered an imperfection, an inbetween that, almost by definition, generates background noise or static. The original, the ideal, becomes impure. The magical transformation is disturbed, the imperfection an unwanted sign of life disturbing its environment of language.

Part limb or trunk, part processed lumber, these translations of tree forms show signs of humans: tools, furniture, hair, squared and planed lumber. In Crest, branches extend, not from a trunk, but from the legs of a chair that has tipped over backwards. The white desiccated blossoms foam like the crest of a breaking wave. In American Cherry, a species of tree that is part of America’s mythology of presidential honesty, the tree is inverted. Its trunk transforms into wire-form lattice and slumps, perhaps melted. While the transitions from the natural to the human-made can be subtle, the change is obvious, the voice of the
translator apparent.

We are embedded in our environment and are a real part of nature. Yet, ironically, it seems to be a human tendency to create idealized visions of the natural world—visions that are romantic and unrealistic and, hence, projections of our species’ desire for perfection and flawlessness. Our visions often overlook, or at least try to ignore, what we consider imperfections.

Perfect translation is an illusion. The value of imperfection is lost when we blindly adhere to ideals of purity, especially at the expense of honesty.

Winner of the Pulitzer Prize in Fiction
Shortlisted for the Man Booker Prize
New York Times Bestseller
A New York Times Notable Book and a Washington Post, Time, Oprah Magazine, Newsweek, Chicago Tribune, and Kirkus Reviews Best Book of 2018

“The best novel ever written about trees, and really just one of the best novels, period.” ―Ann Patchett

The Overstory, winner of the 2019 Pulitzer Prize in Fiction, is a sweeping, impassioned work of activism and resistance that is also a stunning evocation of―and paean to―the natural world. From the roots to the crown and back to the seeds, Richard Powers’s twelfth novel unfolds in concentric rings of interlocking fables that range from antebellum New York to the late twentieth-century Timber Wars of the Pacific Northwest and beyond. There is a world alongside ours―vast, slow, interconnected, resourceful, magnificently inventive, and almost invisible to us. This is the story of a handful of people who learn how to see that world and who are drawn up into its unfolding catastrophe.

Richard Powers is the author of twelve novels. In addition to his recent Pulitzer Prize for The Overstory, he is also the recipient of a MacArthur Fellowship and the National Book Award, and he has been a four-time National Book Critics Circle Award finalist.

Email nancy.stoaks@kimballartcenter.org to RSVP!