As I've read accounts and pondered the circumstances and experiences of pioneer women, I have been struck by how their spiritual and temporal lives became one fluid whole. The awareness that all things are spiritual, and that our temporal experience informs and brings reality to our spiritual one seems readily understood by these women. Additionally, I was struck by the amount of change and uncertainty that they faced in such a short period of time. Surely they had to have found small ways to keep their lives and testimonies sure. I've come to believe that certainty amidst uncertain times or circumstances is often derived from the small and certain things essential in daily living. Routine and ritual keep us grounded in things we know. Joseph Smith taught that "a very large ship is benefited very much by a very small helm in the time of a storm." Perhaps the correcting helm to help stay our storms are things as simple as folding laundry, tucking in a child, washing a plate and kneeling in prayer. I'm beginning to understand that as I dedicate my life to Christ, ordinary, often domestic, tasks and encounters can begin to take on deep religious significance that steady and stay me.
Swimming Through the Sky
Oil on Panel
30 x 30 in.
When I was little I thought the coolest job in the world would be a Flower Delivery Woman. I mean, think about it. Your job is to SURPRISE show up at doors with bouquets of colorful joy. I grew up to be an artist and now I deliver paintings of colorful joy to offices and homes. I love to get lost in the colors/shapes/lights/shadows when I paint dogs swimming through water. Thanks for stopping to take a look. I hope I helped you smile.
Oil on canvas mounted on panel
16 x 27 in
Painting from careful observation is a meditation that brings wonder and meaning to my life. When I try so hard to understand the appearance of objects and their relationship to each other, I am in awe of the beauty of the simplest things; a dried leaf, a bowl of apples, the beautiful colors that bounce around in an arrangement of eggplant. I so want to convey to the viewer the beauty that I have come appreciate. That struggle is one of the things that keeps me painting.
Mother of All Living
15 ½ x 12 x 9 in.
I am a realist sculptor and earth is my medium. I work in oil-base clay to be cast in traditional bronze. One of my earliest influences was seeing Michelangelo’s “Pieta” on loan from the Vatican in Rome to the 1964 World’s Fair in New York City. It became a key inspiration in my art life, and I knew I wanted to make art.
My work is often figurative and representational with a message. My goal is to depict shared experiences and communicate universal principles through symbolism and the expressiveness and energy of the human form. J. Leo Fairbanks, of the outstanding Fairbanks sculpting family, wrote his artist statement many years ago as a poem, and I echo his thoughts in my own work: “Art is for service; for making things beautiful as well as useful; for lifting man above the sordid things that grind and depress; to give a joyous optimism in one’s work; to realize transitory hopes in enduring tangible material; to visualize ideals and to idealize realities.
My sculptures have been acquired for corporate, Church, and private collections. These sculpture sizes range from small tabletop size maquettes to full monuments. I am available for site-specific commissions. Interested collectors, please contact me so that together we can create something beautiful, lasting, and memorable.
Emily Carruth Fuller
Out of the Best Books
Oil on Wood
28 x 41 in.
As a little girl I would ask my mother how she knew so much. She'd respond with a smile and say that she simply reads. Many women I admire and respect actively seek knowledge. This painting represents those who search diligently to know truth for themselves. "Yea, seek ye out of the best books words of wisdom" D&C 88:118.
Rose Datoc Dall
Where Are Those Thine Accusers?
Oil and Metal Leaf on Panel
20 x 30 in.
The narrative of the piece, ""Where Are Those Thine Accusers?"" comes from the Book of John Chapter 8 in the New Testament. The scene describes a spectacle in which scribes and Pharisees bring a woman, who was caught in the act of adultery, before Jesus at the temple.
As with all of my paintings, I seem to project a bit of myself into the story. When recently reflecting on the line, “where are those thine accusers?” I had an epiphany: we are often our own worst accusers. As a young mother years ago, I used to beat myself up over ridiculous infractions, falling very short of perfect parenting skills and a perfect temper. It lead to depression before I understood more fully the process of repentance. It was life-changing. I then came to a realization: that there are lots of women like me, and we women tend to beat ourselves up. How often have we prevented ourselves from full access to the Atonement because we constantly put ourselves down for mistakes? This painting is for every woman (or man) who has ever had difficulty forgiving herself (himself) for something that should have been or should be swallowed up in the Atonement of Jesus Christ. This painting is for every woman (or man) who thinks their sins are beyond the help of the Atonement. Having said that, in many painted depictions of this story, the woman’s face is almost never shown. However, in this painting, I chose to put this woman in the center, alone with the Savior (the accusers having faded away). Her face is shown frontally, with eye contact with the viewer. She is vulnerable, yet still standing tall, maintaining her dignity. She is every woman (or man, for that matter). Moreover, sins and mistakes are between the individual and the Lord, and as He forgives and remembers them no more, so should we remember them no more.
She Saw Her Reflection
Charcoal, acrylic and oil on paper
36 x 24 in.
She sees the landscape behind her in the reflection. This is the place from which she came, but in front of her, on the other side of the mirror, is the stage in which life will be performed. Specific objects, such as the thistle, strawberries, and mallow have historical and cultural significance and perform on the stage alongside the heroine. Thistle is a symbol of hard work and suffering, strawberries represent the virtuosity of good deeds and humility, and mallow means forgiveness and healing.
As long as I can remember, I have had an innate sense or story of who I am. The stage, the props, and the costumes change, but I know who I am supposed to be. I can feel my divine nature, my potential even when the plot is not totally clear. But I believe Certain Women know from where they came and know where they are going regardless of the performance going on around them.
Detangling My Mind
Oil on Panel
30 x 24 in.
I make art founded on the human experience. Life, death, tragedy, joy, loneliness, spirituality, and progression are concepts central to how I view this experience. Growing up in a family with all boys, it was difficult for me to identify with women. My work often explores the feminine experience as I attempt to understand myself and all women more fully and view them the way I see them - powerful yet flawed.
Oil on Panel
24 x 18 in.
My dear sisters, life is made of a series of decisions,
That we approach with our utmost honor and precision.
Today I bequeath you with the permission you need,
To behave beyond expectation in practice and deed.
You shall receive:
Permission to be great: for your potential is infinite.
Permission to be sad: for an open heart receives comfort.
Permission to fail: for that is how we learn.
Permission to hunger and strive for success: for all will be balanced.
Permission to let go: for forgiveness brings peace to the soul.
Permission to be bold: for your voice has significance.
Permission to disrupt: for our daughters will reap the rewards.
Permission to accept criticism with poise: for you choose what to pick up or put down.
Permission to believe when things seem unjust and to be certain in your faith as you hope for change. Rejoice and be glad, for all will be well in heaven and you will be joyful with your sisters who came before you.
Laura Erekson Atkinson
A Mother's Worries
40 x 30 in.
It began when I became pregnant with my first child. Was the baby healthy? Would we both survive labor and delivery? What kind of mother would I be?
The pain, the exhaustion, and the uncertainty of it all is enough to drive a woman mad.
As my circle of love grew so did my reasons to worry. I loved so much and thus had more to lose.
And then I remembered something from 2 Timothy that my mother recited to me over the years, ""For God hath not given us the spirit of fear, but of power, and of love, and of a sound mind.""
I keep the hovering worries at bay by remembering that.
I am a woman, I am a mother, my love is power, and my mind is sound.
Charcoal on Stretched Paper
48 x 36 in.
My work is highly influenced by my graduate studies in Marriage, Family, and Human Development and consistently focuses on perceptions, image, cultural assumptions, constraints, voice, the psycho-emotional experience of the individual and personal power. I champion the meaningful contributions of women in every arena: personal growth and spirituality, caregiving, relationships, mothering, political, civic, religious, and social engagement, service, academia, the arts, careers, and work. Stylistically, my pieces employ clean lines and relatively flat, discrete color to create a more graphic aesthetic, drawing from the influence of midcentury lifestyle periodical illustration, the work of Coby Whitmore and fashion illustration of Larry Salk.
Portrait of Christ Study
Oil on Panel
15 x 16 in.
This is one of my favorite works. This piece tells a story about the creative process for me, and how I struggled to produce what I hope I can achieve in all my future works: Simplicity. And Finding the simplest ways to portray with a single brush stroke.
They say, "A picture is worth a thousand words". It refers to the notion that a complex idea can be conveyed with just a single still image or that an image of a subject conveys its meaning or essence more effectively than a description does. I wanted to make a painting that portrays essence with just a few simple brushstrokes. I believe the small and simple can be just as potent as the big and elaborate.
A Message to the World
Oil on Panel
34 x 26 in.
“The world is indeed full of peril, and in it there are many dark places; but still there is much that is fair, and though in all lands love is now mingled with grief, it grows perhaps the greater.”
J.R.R. Tolkien, The Fellowship of the Ring
There are currently 22.5 million refugees in the world; over half of them are children. They have fled violence, conflict, and intense persecution in the hope that the rest of the world will show some humanity. These three boys fled their home country of Afghanistan, undertook perilous journeys with their families, and landed in a refugee camp in Greece where I met them. One of them trailed me all day, wanting to play, laugh, hold hands and watch me draw. The others scuffled in the dirt, took turns on the one bicycle in the camp, bossed the younger children, annoyed the teenage girls, struck endless ‘peace’ and ‘love’ poses for the camera, and generally got underfoot, all with the youthful optimism of a Cub Scout. Their future is uncertain and their past is gone forever. This precarious position could understandably inspire fear, mistrust and despair. Yet so often it is the children who are able to rise above the rhetoric of fear and show us all what humanity really means.
Oil on Canvas
12 x 24 in.
I painted this portrait of my husband during our first year of life as a married couple. It represents starting that journey into the wilderness of marriage, trying to overcome the "natural man" for each other's sakes and yet learning to simply love and accept the other as they are: the dark and the light. "The greatest thing you'll ever learn, is just to love and be loved in return." Nat King Cole's song "Nature Boy" was a source of inspiration while painting this piece.
Acrylic on Wood
3 ¾ x 3 ¾ x 3 ¾ in.
I'm interested in the visual ways we experience family history. This is a replica of the photo cube that was always in my grandmother, Ann Maughan's kitchen. On it are the people she loved most in this world. She lived to be 105 years old.
Oil on Canvas
16 x 20 in.
I witnessed wildfires in California throughout my childhood and saw miles of smoke clouds and charred earth. But after these fires I observed nature's resilience and regeneration. Throughout life we each experience unimaginable challenges. But with these hardships, we learn and discover that we are RESILIENT. We can progress, grow, and change with the challenges life brings. These wildfire paintings are symbolic of life challenges and finding courage, strength, and hope in facing our personal disasters. We need challenges—just like all things in nature—to learn, change, and grow. We can choose to find meaning and transformational beauty in our life experiences.
Sandy Freckleton Gagon
Ask for Angels to Help You
Oil on Canvas
35 x 36 in.
In April General Conference 2010, Elder Jeffrey R. Holland encouraged us to “Ask for angels to help you.” These six words were the inspiration behind my painting. As we live up to our covenants, the angels will not be able to be restrained from being our associates.
A preeminent realist painter, Sandy carries on the traditions and canons of classical art ideology practiced from the Renaissance down through the 19th century. Her paintings and drawings demonstrate her virtuosity. Each is a manifestation of unparalleled technical excellence that results in great works of lasting beauty. Sandy’s consummate knowledge of anatomy, color theory, and design, facilitate her portrayal of the human condition – in all its complexities – with breathtaking elegance and mastery. She feels privileged to paint her testimony through her love of the scriptures, and passion for religious figurative painting.
Sandy’s husband is writer/educator, Dave Gagon. They have three children.
Her Mind Was Hot
Acrylic on Canvas
30 x 40 in.
My domestic series explores personal identity and the experiences of daily life particularly through the lens of women. I deliberately obscure the identity of the figures to focus on the action and metaphor of the piece whilst creating tension and ambiguity. I want to explore cultural attitudes and perceptions toward women--their image, identity, and roles in domestic life, relationships, the various shifts that have occurred over the last century. Her mind was hot asks questions about the nature of attractiveness and the intelligence, knowledge, and contribution of women. It questions our judgments of and reactions to women, especially in a very image focused culture-- it seeks to go beyond appearance. What is she thinking and feeling? What is she capable of? Who is she? In this piece, the figure, while very anonymous, maintains a bold, confident presence and retains a certain power even as she reveals or discloses very little of her thoughts, emotion, identity, and abilities.
Nicole Woodbury Preece
Line Upon Line
Porcelain Ceramic, Mason Stains, Glaze, Gold Leaf
14 x 24 ¾ x 6 in.
Line upon line, layer by layer, and year by year, the processes of accretion and erosion reveal stunning rock formations and strata, preserving in their layers, a record of life. The rocks tell a story: of abundance and famine, of flood and drought, of creation and destruction.
Imitating the geological process, I compressed layer upon layer, sliced through fold upon fold, and eroded the pigmented clay, exposing a unique marbling. Line upon line, layer by layer and precept upon precept we acquire knowledge and experience; each layer adding to our perceptions and character.
With each experience, choice and consequence, we are faced with such a wide variety of options, that the possible outcomes of our choices fluctuate with near limitless possibility and potential. The form of this piece opens and closes, rises and falls, twists and turns. Each line and layer connecting and building upon the others, records the outcome of limitless possibilities and potential through variations of design.
Impurities and weakness, recorded in rock formations result in cracks and fissures when exposed to extreme forces. The porcelain used in this piece “remembers” moments of weakness and stress, creating an unseen record of movements, jolts, and joining points. In the final moments of firing the clay, the extreme heat exposes hidden weaknesses resulting in cracks in the final vitrified form. The devastation of damage drives us to two choices. Repair and improve or disgrace and discard. While some may discard a cracked and broken piece of pottery, the ancient Japanese developed a technique called Kintsugi, the art of repairing broken pottery with gold. In gilding the scars of a broken piece with precious metals, the vessel becomes more valuable and celebrates these scars, symbolizing resilience and refinement. Just as our own scars, weaknesses, and faults, mar our human forms, when a precious medium is a applied, our faults, now perfected, add yet another line, another layer, and another precept to the form of our being.
Coming Full Circle
Oil on Panel
24 x 18 in.
That moment when the pathway clears, the questions are answered, the problems are solved, and circumstances understood. Everything comes full circle and your heart swells with gratitude. In that moment of joy and thanks our hearts connect with Heaven as we recognize God's hand in our life. Look for the circles in life and you will find them.
16 x 20 in.
My artwork revolves around the time-intensive act of cutting intricate patterns using an utility knife. Moving my hands in the repetitive movements required by my work transforms my art practice into a meditative experience essential to my process. The themes of my art are centered on my attempts to connect my physical surroundings with the rich, complicated, internal and spiritual environments experienced within. The cut-out pattern interferes with the representational imagery, obstructing the seen with the unseen. No matter how many paper layers intersect with the photograph or drawing, the cut outs ultimately act as negative space, forming lines and shapes out of nothing. Despite the patterns' clearly defined edges, they are actually invisible, like the experiences they represent.
Ashley Mae Hoiland
Listen First, Then Speak. And Sometimes, Just Listen.
Gouache and Pencil on Paper
7 ½ x 10 ½ in.
These four pieces are part of a much larger series featuring black women who have influenced my understanding of the history of racism and the contemporary state of racism. As a white woman I’ve been too nervous, uninformed and unaware of my own privilege to participate in the conversations surrounding racism. In the past year, these are some of the women who have taught me that most often, I need to learn to listen first before I add to the conversation. I’m grateful for these women. Maya Angelou, Shirley Chisholm, Alice Walker and Dorothy Counts Scoggins. See Ashmae.com, or my Instagram (@birdsofashmae) to see the entire series.
Oil on Linen
9 x 12 in.
As an artist, I strive to share spiritual truth and to help others experience the world that surrounds us. Painting renews me and makes my life more meaningful, bringing me closer to God. We are innately creative beings and as we spend time each day creating, I believe we come closer to God and to the person He wants us to become. Regardless of what you create, you organize matter to enrich the lives of others. As I continue to push my understanding of my materials and the world around me, it is my hope that the joy I experience in creating my art, is preserved in my paintings, bringing happiness, truth and beauty to my viewers.
17 x 20 in.
Few things in this world can compare to the kind of love a parent feels for a child. It's a transformative love that teaches and perhaps gives us a glimpse of the kind of divine love we all are potentially capable of giving and receiving. The human experience is always at the forefront of my work. I seek to define relationships through moments, metaphors and/or symbolism. Simplified forms, unique color palettes and tactile mediums often find their way into my pieces.
Charcoal & Chalk on Paper
30 x 21 ½ in.
My art tends to have some attachment to nature. On my travels, both domestic and abroad, I enjoy collecting leaves, sticks, rocks, feathers, etc. and integrating those things into my work. I want to take the viewer to a different place- somewhere familiar, but also somewhat fantastic. A new place that one is already nostalgic for. One of my greatest joys as an artist is hearing how people respond to different pieces and the memories that come up for them by looking at my work. Though a lot of my art is connected together through a larger overall narrative, I want each piece to stand on it's own because I know that viewers will bring their own experiences when they are in front of my work and I want to encourage that without the constraints of my own vision. Art should be an act of service, not selfishness.
Oil, Metal Leaf, Found Objects on Panel
21 ½ x 10 x 1 ½ in.
My paintings often involve hand gestures juxtaposed with found objects. For me, the objects are imbued with personal meaning, narrative, and history, akin to relics. Along with art historical references, there is also a kind of spiritual devotion – devotionalism - in the process of meticulous, labor-intensive paint stroking. In Iron Butterflies I am thinking about the regenerative power and the fierce tenacity of love, particularly maternal love. The hands may possibly be intergenerational: is this mother and daughter or mother / daughter / grandmother, a third figure from the other side?
Courtney Vander Veur Matz
Pondering God’s Promise
Oil on Canvas
60 x 48 in.
I have always loved the story in the Bible of Abraham and Sarah who were given a promise from God that He would “multiply their seed as the stars of the heaven” (Genesis 22:17). It took a long time for this promise to be fulfilled. Sarah was 90 and Abraham was 100 when Sarah miraculously conceived and they were blessed with their son, Isaac, through whom came the twelve tribes of Israel and millions of descendants. Their promise was also a spiritual one, a promise that will yet be fulfilled in ways that are difficult for us to comprehend.
I sometimes think about Sarah during those childless years, when she yearned to be a mother, and the promise, perhaps, began to fade and seem impossible. Maybe she looked up at the numberless stars, trying to stay hopeful and faithful. And, in the Lord’s time, the promise was fulfilled. “Is anything too hard for the Lord?” (Genesis 18:14). “With God, all things are possible” (Matt. 19:26). When we look at the countless stars in the night sky we can remember the promise God kept to Sarah and have hope that He will do the same for us.
Annie Henrie Nader
Blessed Among Women
Oil and Acrylic
8 x 10 in.
I painted this piece while on a study abroad in Italy. I felt that the colors and fresco appearance of Florence made artwork feel timeless, but I wanted to include modern spirituality. This painting was created as part of continuing the tradition of religious artwork, in that our art helps us feel connected to divinity. The figure of Mary is one of my favorite figures to paint, as she represents the woman who was closest to the Savior during his life. In this painting I hoped to portray her in contemplation, with a partial halo representing both her humanity and her purity.
Oil on Panel
24 x 34 in.
I am intrigued by the value of life.
Each life has meaning and dignity, whether it be a human life, or a sheep, a tree, or even a house, there is a story and something to learn. My work is about what I observe from the lives around me. When I paint, I am trying to convey the dignity of that life. I paint the way I see things. My painting appears stylized because that is the way I see—simple and straightforward. I seldom use realistic colors because I am more interested in how the colors work with each other on the canvas and values of light and dark. I focus on line and shapes and areas of color.
This piece called Malaysian Reign was painted from a memory of years ago when my husband and our four children lived in Kuala Lumpur, Malaysia for 18 months. This was a familiar sight.
After the Trial of Faith
Porcelain & Stoneware
14 x 11 in.
I tend to be a problem solver, and as I’ve worked through various surprises, challenges, and disappointments, I’ve come to realize that I have little control over many of life’s situations. Faith gives me strength to trust in the Lord and let go of trying to control the outcome. The title, “After the Trial of Faith,” comes from Ether 12:6, and this sculpture reflects the growth that faith in the Lord can give us in our lives.
Oil and Gold Leaf on Panel
25 x 50 in.
This diptych portrays the story of Hannah of the Old Testament.
In the left panel, Hannah fervently expresses the desires of her heart. Beside her lies the meal she is unable to eat due to her anguish, which also represent her story: A grape bunch symbolic of the House of Israel; a pomegranate, a symbol of fertility, which remains unopened to her; and almonds, a Jewish symbol of God fulfilling His promises. Almond blossoms crown the piece, a sign of fruit to come.
The right panel depicts Hannah with God’s fulfillment: her first child, Samuel, who would grow up to be a prophet and would ordain King David. Beside her lies an open pomegranate, its seeds revealed and bursting. Olives, another symbol of the House of Israel, also lay spread beside her. Above the figures the almond branches now bear their fruit in fulfillment of God’s word.
This piece is the beginning of a series depicting righteous women of the scriptures with whom I feel the women of today can strongly resonate.
Amy Tolk Richards
Oil on Panel
17 x 48 in.
Art has always been a part of life for Amy Tolk Richards. As a child in New Jersey, and later as a teenager in Nashville, Amy Spent her free time drawing and painting. Extensive travel has enabled Amy to view and appreciate great master works of art through Europe, China, and the Middle East—and yet the imagery she gravitates to over and over again is the simple beauty of the Tennessee (and also Utah) rural landscape. Pastures, rolling hills, and old wooden barns fill Amy’s miniature oil paintings: reminders of the lush greenery and tender landscape of her formative years.
Oil on Panel
23 in. Diameter.
One of the most unique doctrines in the LDS faith is our view on Eve. Unlike other Abrahamic faiths, Mormons do not believe that Eve sinned when she partook of the forbidden fruit, but rather we honor her as the heroine who made our progression possible. Mormons also believe that Adam and Eve were true partners to one another, and that their complementary roles were two halves of a whole. Neither Adam nor Eve could fulfill their earthy missions by acting alone.
I began this painting shortly after reading a work by Valarie Hudson Cassler by the same title. Though I didn’t seek to illustrate her writing specifically, I did feel compelled by the parallels she drew between Adam and Eve and the two trees in the Garden of Eden. Eve’s role coincides with the first tree (the Tree of Knowledge of Good and Evil). Because of Eve we each enter mortality, experience agency, and receive the light of Christ. Adam’s role coincides with the second tree (the Tree of Life) which pertains to the ordinances of salvation. For Latter-Day Saints, the gifts of both trees are necessary to return to our heavenly home and become like our heavenly parents.
Oil on Panel
20 x 16 in.
I search for subject matter that stands as a reminder of the passage of time. Structures that aren’t maintained are good indicators of passing time, showing the incremental wear of fleeting seconds. During those seconds, we do not notice our own decay. When they are placed in the context of the present, worn structures starkly show passing time, because even as we experience life, time passes so rapidly that the present will always be seconds behind us. Traditional mediums are also subject to change as time passes. As a result, the viewer experiences the paintings changing over time. They work in tandem with the subject matter, detritus: the natural consequence of time.
Sunny B. Taylor
Woven Landscape: Purple Hues
Acrylic on Panel
25 x 25 in.
My works embody a built, sometimes sculptural aesthetic, where images develop through processes that often resemble those of a draftsman, or builder. I sculpt surfaces with many layers of paint, and puzzle visual information into the limitations set by the surface dimensions. In this piece, the image has gone through several stages of being disrupted, turned upside down, reworked and reassembled until I found a composition that felt peaceful and complete.
A Sensible Thing
Mixed Media on Panel
40 x 40 in.
A single image, a simple happy memory. An heirloom, a tradition, an expectation to be rejected or embraced. In “A Sensible Thing,” layers of lace and paint mimic the layers of feeling, memory, and history that intertwine to create expectations and hopes for the future. This painting shows the struggle of finding our individual identity and worth within a sea of expectation and pressure.
Heather Teran is a contemporary artist and painter whose dreamlike imagery sets her work apart from others. From Irvine, CA, Heather studied at Art Center College of Design in Pasadena and holds a Bachelor of Fine Arts in Studio Arts from Brigham Young University. Her artwork has been exhibited internationally. Heather was given the honor of being chosen as a visiting artist in residence at the I-Park Residency in East Haddam, CT, and won the Uncommon Goods Art Prize from Uncommon Goods in New York City.
The Dawn of Eve
Oil on PVC Board
36 x 36 in.
Change is in the air. More and more women are seeking out their feminine roots to divinity and purpose to Gods plan. The Father loves his daughters and knows the world is preparing for women to take back their rolls of the sacred feminine and divinity. Eve, being the first woman, is a model for divine womanhood. As we search the ancient scriptures that have been lost to the world, we find her influence and wisdom even greater after the garden. We also find more connection to other women, whose presence has been removed from the canonized Bible, including our Heavenly Mother, who all of us so desperately wish to connect to. We are in the dawn of a new era for discovery of deeper relationships with heavenly parents we haven't known because we have been neglecting a very important part of the Godhead. Perfection can only come through unity of the Mother, Father and son.
Steel & Marble
68 x 15 ¾ x 18 in.
Carving my unique designs into some of the world's most beautiful marble is my passion. Sometimes the rock inspires a certain idea for carving and sometimes I impose my previously determined subject onto the stone. But always, spontaneous decisions occur while creating, which makes it so much fun! Sometimes, I will have a favorite piece also cast in bronze or other metal which gives the sculpture another "look" altogether. My hope is that my work will "communicate" it's uniqueness in the world of sculpture and find its “niche."
Oil on Canvas
48 x 24 in.
To honor certain women who are strong, confident and rooted in faith, I liken them to the growing cottonwood trees seen in my painting, “Golden Hour.” As a sapling, we are nurtured at our roots through the examples of faithful women beside us. We mature and grow. Our common belief and unique individuality work together to strengthen us. At different points in our lives challenges arise. These challenges cause us to twist and bend just like the maturing branches of the cottonwood tree. Then, during the magic golden hours of our lives, we recognize that our challenges along with our faithful actions and deeds have richly elevated us heavenward where we stand strong, confident and certain.
Janis Mars Wunderlich
Ceramic, Multi-Fired with Underglaze, Oxides, Glaze
40 x 40 in.
As babies enter this world, they arrive in a flow of water. This is the first of many visually and spiritually symbolic moments that converge into a sea of experiences.
As my children have grown, I’ve observed their eagerness to move beyond the safety of my boat. Their radius is expanding, and they begin to swim towards currents of their own choosing.
Motherhood continues to carry me along a confluent flow of unexpected twists and rapids. I just continue to hang on tight and breathe in every vivid, delicious moment.