Every year the Face of Utah Sculpture provides Utah artists a forum to present Utah culture through sculptural form. The origins of this dynamic exhibit, envisioned sixteen years ago by glass artist Dan Cummings, features both well-known and emerging Utah sculptors, showcasing both traditional and contemporary sculpture in a variety of techniques, styles, and mediums. The result is an exciting and eclectic mix of excellence in artistry in countless forms.

If you would like to purchase any of the sculptures that are for sale, please contact Michael Christensen at michael.christensen@wvc-ut.gov.

Click on an image to enlarge it.

GARY ANDERSON

My Color Wheel

For sale:  $1,800

Self Portrait

For sale:  $3,300

Chicken

For sale:  $1,500

BRIAN BAITY

Lost Continent

RIC BLACKERBY

Grasshopper Tricyclist

Repoussé, welded, fire-colored, steel and found objects  25" x 26" x 12"

For sale: $900​

Plane Bird

Repoussé, welded, fire-colored, steel and found objects  11" x 20" x 20"

For sale: $900

Bast, Thoth, and Shesat

Welded steel  60" x 45"

For sale: $1500

BRIAN CHRISTENSEN

Epidemic Teapot and Every Which Way Jar are vessels which refer to the burden of fear, which accompanies uncertainty. One might view them both as dispensers and receptacles of fear.

Epidemic Teapot

Every Which Way Jar

DAN CUMMINGS

Blue Leaf

Glass  20" x 20"

Geometry of Opinions

Glass  30" x 20"
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​​For sale: $3,700

BRYON DRAPER

Giving of the Water
Doctorow Foundation Award of Excellence for Peer Recognition

Stone, bronze

KRISTENA EDEN

Inner Peace (Self Portrait)

Like the rustling of leaves in the softly moving breeze, inner peace can dance its way through the heart and into the world. These leaves create the face of peace we find within, inspiring us to reach for greatness.

​​Porcelain and high-fired  40" diameter x 12" high
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For sale: $700

The Journey

This wall plaque depicts the journey all of us follow in life. Find your journey.

Follow the numbering down each plaque column staring left and below, middle and below and finally right and below.
1. Mictiantecutl God of Death
2. Symbolizes human sacrifice, fire, and the moon, which is the lesser light
3. Mictlantecuhtli God of the Underworld
4. Quetzalcoatl God of Light
5. Tree of Life
6. Life giving water
7. The Sun of the greatest light
8. Rebirth
9. Huitzilopochtli God of War
The sculpture is representative of man's inner struggles.

1, 2, 3 represent the ego or natural man - a man who is turned inward and less prone to love others, a self-centered man having no empathy. Man has been known to impose the darkest of behavior for self-love or for power.

4, 5, 6 represent the true essence of man. This is the side of man containing great empathy and love for his fellow beings. These symbols show light, unconditional love, and a desire that all men will live in peace.

7, 8, 9 represent the war and struggle of good versus evil, with the rebirth delivering all men into the light.

Raku fired clay  36" x 48"
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For sale: $4,000

AMBER EGBERT

I am an artist that works primarily in clay. My work often combines hand built, slip cast and wheel thrown components. When creating my work I seek for quiet, rhythmic balance between contrasting or opposing elements. I see these elements often present themselves in my observations and interpretations of motion versus stillness, literal versus symbolic, masculine versus feminine, decorative versus stark. Often these elements seem to conflict and to present difficulty when trying to exist side-by-side, yet often they do. I enjoy the interplay between tradition, decoration and sparse minimalism.

Coexistent

Ceramic
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For sale: $450

GRANT FUHST and VINCENT MATTINA

Born Under Punches

This piece is a commentary on the recent pandemic and the ways in which it has altered our daily lives, as well as a humorously exaggerated forecast of future fashion trends predicated by such concerns.

Our views of everything, fashion, style, comfort and freedom have been challenged by this new state of existence that has pushed all concerns of individual privilege aside in favor of a larger health concern for the collective. How we face these challenges will determine how well the human race will adapt to the many changes to our environment coming in the future.

For sale: $700

ANNE GREGERSON

Abundance

Abundance was created for a woman who had lived in India. She loves the plants that grow there, and as a person, exemplifies living an abundant life.

Ceramic

A Moment's Pause
Face of Utah Sculpture Peer Award Honorable Mention

A Moment's Pause was made during the early phase of the pandemic, when I was experiencing a lot of fear. The sculpture reflects trying to find peace and grounding by pausing to reflect on the good times in the past and also looking forward to better days ahead. A moment of taking a breath.

​Ceramic

DAVID HOLZ

Dragonfly
Face of Utah Sculpture Peer Recognition Award

Welded/Painted Aluminum  7' x 12' x 3'

MYLES HOWELL

Growing up, I remember the vivid landscapes of the Southern Utah desert. i spent a lot of time in the desert mountains and remember finding bones on many hikes. i was amazed by the shapes each bone had and how they worked together to allow the animals to move. My sculptural ideas are derived from these bone forms found in the desert. I study these shapes and work to abstract them. The convex and concave elements found in bones resonate in my abstracted forms. The lines and planes in my forms often appear and fade away, drawing you in and around each sculpture. I place voids in my work to allow light to pass through creating more visual interest. My intent is to express my visions from the desert and I hope each viewer has a connection in their own way to my work.

Solace in Onyx

Golden Desert

Desert Winds

JANINE HUTCHINSON

I love and enjoy nature, collecting rocks, especially heart shaped rocks, and gen stones. I love photography, painting (especially in watercolors), calligraphy, gardening, hiking the canyon trails, learning the names of wildflowers, and capturing the beauty that I see with my camera.

I am a volunteer docent at Red Butte Garden mainly giving tours to school children, and also a volunteer assistant photographer there. I enjoy giving tours to school children at the University of Utah Museum of Fine Art (UMFA) in the capacity of a volunteer docent as well.

Large Bedbug on Sheets

A hole was made through the middle of each canning jar seal, then the electrical cord was pushed through the holes of two seals put together; rubber seal side facing each other. Clothespins were attached to the outer rim of the seals. The seals were spaced evenly apart along the cord. Originally I wasn't going to make the sculpture so long, but it began to look better and more like a caterpillar the longer I made it.

I peeled back several inches of the outer rubber covering of the electrical cord to expose the wires, which I then twisted and turned to create the "hair" or antennae of the caterpillar, and added magnets for the eyes. 

While I was creating this sculpture and lengthening it, I bought every wooden clothespin I could find in the stores in the vicinity!! Because of its length and size, and the weight of the sculpture altogether, it is very heavy and awkward to lift or move. It takes two people to lift it.

Wooden clothes pins, canning jar seals, rubber coated electrical wire cord, and small round magnets  6' x 8.5"

Janine's Time Capsule (Self Portrait)

On one end of the sculpture I have welded a "door" or the allusion of a door for the opening of the time capsule. A canning jar was filled with objects that symbolize things relating to my interests and hobbies. The jar was placed inside the time capsule. For the exhibit, some of the objects have been placed outside the time capsule sculpture in order for the viewer to see them, and to know a little more about me, the artist.

Wooden clothespins attached to metal rods, welded into circles

TOM JACKSON

In Memory of the Captured Moon

This sculpture reminds me of the story of a young boy who climbs to the top of the bluff. There he meets up with three crows. He asks the crows if they would help him capture the moon so he can give it as a gift to his little sister who is sick with the fever.

​Composite materials with acrylic stucco coating, acrylic paint and outdoor exterior finish  24" x 2"

Some Kind of Blue

The abstract shapes of sculpture have always been a mystery to me. Why this shape and that shape? How and why do they ome together and stand as one shape? 

I decided to paint this sculpture blue. Maybe so it would stand out in the earth tones of the landscape.

Composite materials with acrylic stucco coating, acrylic paint and outdoor exterior finish. Weather resistant  24" x 2"

For sale: $350

The Guardian

This sculpture draws from the desert landscapes of the southwest. With their towering pillars of stone and sand standing guard over the wode open expanse of space and time. The magic of the red rocks.

Composite materials with acrylic stucco coating, acrylic paint and outdoor exterior finish. Weather resistant  24" x 2"

For sale: $350

SUSAN KLINKER

Transformations

This piece was created in a day and a half, in response to inspirational prompts by several exhibits at the Utah Cultural Celebration Center and a live art making event at the Visual Art Institute. It tells a story of a unique and mysterious experience in my life. While I was healing from the pain and devastation of divorce from the father of my children in 2012, I did a 3-day retreat in silence at the Monastery of Christ in the Desert in Abiquiu, New Mexico. It was a fabulous time of quiet contemplation, exploration of nature, meditation, prayer, creative and reflective writing, and field painting and sketching. I loved every self-indulgent moment of quiet and peace! During one afternoon outing, while meditating and praying in the desert, I observed a large beetle walking across the sand in a direct line toward me. I first noticed the beetle about 20 feet away from me, and thought it was curious. At 10 feet away I became uncomfortable and stood up, feeling like I did not want this beetle to crawl on me, and it seemed quite aggressive in still heading directly toward me. Still, I wanted to stand my ground, hold my space, and be with whatever happens next in my prayerful experience out in nature that day. The beetle kept coming. Five feet, then two feet, then six inches away. Finally, the beetle crawled directly under my hiking boot. I paused, maybe 30 seconds, before lifting my foot to see that the beetle was gone, disappeared. I have no idea where the beetle went, or what this experience was supposed to teach me. But my takeaway is pretty special. Beetles are a symbol of transformation. Spending time alone in the desert is pretty special. Quiet listening is important. Life is an accumulation of small moments. Symbolism and reflection can morph into inspiration toward moving forward in our lives. We all have so much to share!

Multi-media - wood, paint, collage, found object

ANDREW KOSOROK

Resurrector (Al Mu'id)

Etched and fired glass, with bowl and fossils

​For sale: $3,200

DANA KUGLIN

Thunderbird and Five O'clock Charlie

JASON LANEGAN

Stick Indian II

As a child I spent a lot of time at my Grandma Ann's house on the Suquamish Indian Reservation in Washington State. My aunts and uncles would tell me stories of Stick Indians and other malevolent creatures. In my impressionable young mind, these stories intermingled with the horror movies my mother loved. Instead of the traditional Native American image of a hairy, Sasquatch-like figure, my imagination conjured an anthropomorphic figure actually created from sticks who was up to no good. The image and stories of Stick Indians forged within me a deep-seated fear of the dark that lasted through my teenage years.

The Best way to overcome fear is to face it, to see it for what it is, thus neutralizing its power. In recreating these spiteful creatures from my childhood, my knowledge of materials and artistry assisted me in exorcising the terror imbued in these beings. Pastel earth tones combine with lyrical lines to generate a decidedly playful mood in opposition to the dark, mysterious harshness of my childhood vision. In addition, these figures needed a new context that further removed them from the shadowy dampness of the Pacific Northwest forests and the claustrophobic horror that entertained my mother. With my new friends in tow, I traveled throughout the state of Utah, documenting their existence in locations and settings that I consider expansive, beautiful, and benign. By disassociating and re-imagining the stories and images of my youth, Stick Indians have become new, good-natured creatures linked with memories of pleasant adventures.

4th and Cass (Self Portrait)

We built a grand garden that fed us and our herd of rabbits. Only in a small town could I have handed out over 30 rabbit kittens on Halloween. Across the street we built the Bauer's pool and through them learned of a church that focused on family. With rope and harness, trees and then the rock cliffs at Laclede were scaled and rappelled. Friendships were formed and welded strong through thrash tag, fly's up, snowball fights, and a variety of sports, nightmares of squirming worms, too many perch, and many more of dad's hair-brained ideas fade but will never go away. Hope was rekindled, crushed, and rekindled. The beginning of my identity was formed, and my concept of home solidified. Corner of 4th and Cass, Newport, WA 1988-89

For sale: $1,600

SUZANNE LARSON

Golden Flax

Life is a weave of subtle colors. Some bright and shiny, some subdued. So complex. all reflective of our passage.

Fused glass  12" x 12"

For sale: $225

VINCENT MATTINA

Traitor

Traitor is a commentary on contemporary human trafficking that harkens back to the slave trade but goes unfortunately even further back to the origin of mankind.

Assemblage  36" x 10" x 40"

For sale: $800

Eureka

A tongue in cheek self portrait. My answer to "Where do you get your ideas from?"

Assemblage  12" x 18" x 12"

For sale: $600

FRANK MCENTIRE

Rachel Carson's Silent Spring (1962) was the catalyst for this series of works, of which three pieces are presented here. They explore our magnificent natural world and the mounting threats to it. As a best-selling treatise on the harmful effects of herbicides and pesticides on plant and animal life - including humans - Silent Spring made us question our indiscriminate use of toxic chemicals on the land and helped spark the conservation movement.

Pollution, disappearing glaciers and rising sea levels, vanishing habitats and loss of biodiversity, frantic consumption of finite natural resources, and radiation and plastics embedded into the geological record are but a few challenging aspects of the Anthropocene epoch of Earth's continuing evolution. This new chapter in the planet's history began when humans emerged as its most dominant change agent. Our generation has the unique privilege of naming this epoch at its onset, but our response to its challenges will determine if humanity remains in the grand scope of geological time.

"Only within the moment of time represented by the present century has one species - man - acquired significant power to alter the nature of the world." - Rachel Carson, Silent Spring

Last Dark Drop

Mixed media  2'3" x 6.5" x 6.5"

Realms of Soil

Mixed media  2'2" x 5' x 9"

Silent Spring

Mixed media  4'6" x 1'8" x 2'2"

MICHAEL MELIK

Million Years BC

Sculpture carved out of poplar wood on a plum wood pedestal, depicting organic nature in no no-human-era.

Wood, stain, fine lacquer finish, assemblage  7" x 6" x 6"

For sale: $1,200

Aboriginal Dance

Pine wood, poplar, on mahogany pedestal, wood stain, fine lacquer finish, assemblage  13" tall

For sale: $650

Self Portrait

Maple, carved mahogany frame (not in the picture), fine lacquer finish, assemblage  9" x 7.5" (13" x 10" overall with frame)

For sale: $950

JASON MILLWARD

Echos of Time

This sculpture is called Echos of Time. It is carved from limestone acquired from high on a mountain in Utah. The material was formed by a coral reef in an ocean which covered parts of Utah many millions of years in the past. I find the formation of the material,  it's lifting to the height of a mountain and then uncovered by erosion to be fascinating. Over the millennia, a natural surface texture has created the darker areas as well as the natural shape of the stone. My intent in carving this piece was to juxtapose and represent the natural forces of creation with the artificial creation process. The results in this abstract free carve are about a tactile experience induced by the natural texture of nature and the more mechanical texture of the interior. I can't help but reflect on the enormity of time when I experience this piece.

For sale: $2,700

Daybreak

This figure carved in Georgia Marble is called Daybreak. She represents those times in life where stress is gone and you feel the warmth of the sun heal your mind, body and spirit. You feel centered and healthy. The coming day is exciting and full of promise.

For sale: $3,200

Tabernacles of Clay

This work represents the ethereal nature of life and the human body. The center is hollowed out and many holes in the form reveal the space within designed to invoke questions about our inner selves and the nature of consciousness, our spirits and our inner selves housed by a tabernacle of clay.

For sale: $900

RICK PRAZEN

A Window in Time

I was inspired to build a sculpture that would emulate the thought of how quickly time passes and convey that every experience in life is fleeting. All of us need to realize that moments are precious, and we might never pass that way again. The window in the middle of the clock has a child's hand and a broken heart, indicating joy and sorrow. The weather vane on top signifies that life keeps spinning. The star in front indicates service and our first responders that sacrifice to keep us safe. The gears in back give this sculpture a steampunk flare. This sculpture is currently in St. George in the Art Around the Corner yearly show.

​9' tall

Bad to the Bone

This is my steampunk rocker sculpture. I have rusted the rocker and the guitar has been buffed and powder coated to stay a nice silver steel color.

Scrap parts - chain, gears, stove part, etc.  5'6" tall

The Village Blacksmith (Self Portrait)

This is my self portrait so to speak. I did this sculpture when I was about 19 years old. It represents Henry Wadsworth Longfellow's poem The Village Blacksmith. Blacksmithing is my heritage. My father was a blacksmith and fabricator and my grandfather was also a blacksmith.

JONNA RAMEY

My name is Jonna Ramey and I primarily sculpt stone. These three pieces represent recent work of mine. Dragon Blood Figure was one of the culminating works in my Beyond Beauty examination of the very Utah-centric stone honeycomb calcite. I devoted three years of sculpting to working exclusively with that stone. Beyond Beauty will show at the Eccles Gallery, Salt Lake Community College in April 2021. Tangible I was my first sculptural step away from honeycomb calcite as my stone medium. Freeform and playful, it dances atop its basalt base. Ramey Hands is a sculptural self-portrait. Reminiscent of my 2017 Rodia's Hands, homage to Watts Towers sculptor Simon Rodia, Ramey Hands shows my hands at work. The rasp is one that I have owned for years, a Black Prince farrier rasp. Farrier rasps are useful in stone carving for shaping and flattening out softer stones. My current work is being influenced by the isolation of the pandemic mixed with the imperative to quash systemic racism. For more information about me and to see more sculpture, please visit my website: https://jonnaramey.com

Ramey Hands (Self Portrait)
Face of Utah Sculpture Peer Award Honorable Mention

Alabaster and steel (rasp)  7" x 18" x 8"

Dragon Blood Figure

Honeycomb calcite on steel (gear)  14.5" x 4.5" x 4.5"

For sale: $1,900

Tangible I

Soapstone on basalt  11.5" x 4.5" x 3.5"

For sale: $600

ADAM REES

Creation is the guiding passion of my life. For me, the creative process transcends expression and mere representation - the goal is to communicate a truth, create a soul, or an invitation into a shared experience. Creation is always a risk and a joy. The last twenty years of my life have been dedicated to the arts, but I am still exploring and pushing, finding new ways to maximize the potential of polymer clay.
All of my sculptures come into being through a multi-step process of creating canes, welding the animal form, and then covering the forms in slices of the polymer clay canes. I grew up in the rural West where I was always connected to nature; animals and natural open spaces were fundamental in shaping who I am and what I value. Through color and shape I create sculpture that captures particular characteristics: the radar ears of a rabbit and its lean - ready to run frame, the lithe and playful curiosity of an otter, the stoic hardiness of a bison.
Even though I now live in Salt Lake City, UT with my wife and bossy cat, nature still is, and always will be, part of me. Whenever the conveniences, comforts, and frustrations of this mid-sized city life are too much, I return to nature, the place that shapes and informs my art.

Octopus

Hare

PAUL RUSSELL

I can see the shapes in the wood awaiting their moment of creation. They are called Barely There. The pieces are illusive and captivating, meant to be a beautiful form you could build a room around; each angle of the vessel offering more intrigue and discovery. Each is a dry-vase meant for twigs or some other discerning content found during an outdoor adventure. The Barely There Series has been several years in the making, evolving from other branches of the series, each with their distinctively unique shapes and context (Elbow Series, C Series). This branch of the series (from desert burls) is aptly named after the Spanish explorer Juan Bautista de Anza who explored the desert region these burls come from (Anza Borrego Desert). The burls grow underground and are thought to provide some means of water storage used by the desert plant to survive in its brutal environment. Each has its own story to tell; a harsh history - to uncover and be explored. The pieces are both rough and polished, elegant and raw, and perhaps, a bit like each of us trying to survive in, and being shaped by, our own harsh desert environments.

Barely There Chamise de Anza

Chamise burl

For sale: $1295

Barely There Lilac de Anza

Lilac burl

For sale: $1150

Barely There Manzanita de Anza

Manzanita burl and ebony

For sale: $1350

RYOICHI SUZUKI

Summer Wind

Honeycomb calcite  14.5" x 17.5" x 6.5"

For sale: $3,500

STEPHEN TEUSCHER

A Glacial Curve

Typical of glaciers with large accumulation areas located at plateaus surrounded by peaks, from where tongues flow down the valleys.

Cast glass  10" at base, 13" tall

For sale: $3,500

Janus

An ancient Roman god of beginnings, gates, transitions, time, duality, doorways, passages and endings. Usually depicted having two faces, since he looks to the future and to the past.

Cast glass  9" at base, 11" tall

For sale: $6500

Nature in Repose

A feminine inspired glazier in a state of rest, sleep or tranquility.

Cast glass  17" at base, 9" tall

For sale: $4000

DARL THOMAS

3 Planes

3 Planes is another version of making sculpture that is extremely minimal yet has a presence as well. After the anodizing is completed, I go back in and file the edges to reveal the bare aluminum that gives the piece a nice reflective edge.

Anodized aluminum
​
For sale: $1,200

4 Way

4 Way is a wood maquette that I would like to scale up in a couple of sizes. One could be large enough to walk under, another version could be garden size.

Painted wood

For sale: $950

WINSTON TITE

My work is primarily about an imaginary representation of a playful and curious line traveling through space, exploring/interacting with objects it encounters. It is about implied movement, exploration, structure and relationships. In most sculptures, the linear element encircles, explores and/or is deflected from surfaces and shapes comprising an architectonic or structural form.

In & Around

Illustration board, Bristol board, aluminum wire, paint

Around & About

Illustration board, Bristol board, aluminum wire, paint

Unstable Encounter
Face of Utah Sculpture Peer Recognition Award

Illustration board, wood, aluminum wire, paint

KERRY TRANSTRUM

Me 153

Cast glass  82" x 40" x 3/4"

For sale: $4,900

JEANNINE YOUNG

Winter

I started this sculpture at the beginning of February and finished in April. When I look at her I feel the serenity I was feeling before our world was turned upside down with the coronavirus.

Stained glass, steel and bronze

Autumn

This piece was inspired by the vivid colors I saw on an October bike trip in New England and Quebec province.

Stained glass, steel and bronze

Pounce
2020 Leader's Award

I have always owned at least one cat. They are each so fun and unique. This sculpture reminds me of my most playful cat who was always ready to attack whomever's ankles crossed her path.

Stained glass and steel

For sale: $2,000