Artist Interview: Mike Lee

Mike Lee, UMOCA’s most recent A-I-R Space artist, spent his childhood in both rural Japan and Utah, splitting his national identity into a cultural and spiritual dichotomy. This split led Lee to attempt to reconcile this dichotomy, drawing inspiration from amassing information, both visual and non-visual, through obsessive internet searches. In 2015, he graduated with his BFA from Brigham Young University. His exhibition at UMOCA, Digital Mirror: Selfie Consciousness, explored Lee’s interest in artificial intelligence, Japanese culture, and the inevitable battle that will decide the fate of consciousness—will it be a unified digital world in the future? Perhaps it will become Google Earth? Lee examines how the digital world reflects our physical world and how it allows us to see ourselves digitally as well as we can see physically. Using elements of pop-culture, proto-renaissance Christian images, Japanese mythology, and videogame aesthetics, Digital Mirror: Selfie Consciousness asks its viewers to examine the way they view themselves and the world around them.

Lee used the fundamental mythology of Shintoism in his exhibition, with the mirror—Yata-no-Kagami—as the central focus of his work. In Japanese mythology, Amaterasu-ōmikami—the goddess of the sun—hides in a cave after her brother destroys her loom and kills one of her attendants. The other sympathetic gods realize they need her sunlight and devise a plan to coax her from the cave. “Yata-no-Kagami is basically a divine mirror that was used to show Amaterasu-omikami her own beauty to lure her out of hiding and spread light to the world,” says Lee. “I’ve been quite caught up in this story, which is one of the oldest known in Japan.” For Lee, the mirror can refer to front facing cameras, digital reflections on social media, or even the reflection of an old computer screen.

Although the internet is one way of spreading knowledge, or light, to the world—for instance, Lee mentions how Facebook is currently planning on bringing internet to places where internet is unavailable—artificial intelligence is something much more mysterious. “Artificial intelligence might already be in existence,” says Lee. “The social consciousness that used to be a vague zeitgeist is now taking form through the internet. There is concrete, albeit mostly digital, evidence of this consciousness—most recently proven by fake news spreading across Facebook during the elections.” Lee’s work ponders the questions of digital consciousness—are these trending videos and memes simply thoughts passing through a mass digital consciousness? “Tweets become synapses firing,” says Lee.

When it comes to developing his work, Lee emphasizes the need for thorough research. “[There are] periods of almost no production filled with research, writing, think-tanking,” he says, “followed by periods of production focused solely on creating work.” Lee compares his productivity to that of two sine waves: one wave being innovation and the other production. “Usually the sweet spot is where the two sine waves intersect, but it’s impossible to stay in that zone forever,” he says. “Whenever I am feeling like I’m getting down on one or the other, I just shift my focus.” The relationship between himself and Digital Mirror: Selfie Consciousness is no less strained. Lee describes it as “an elaborately designed dinner where I don’t meet most of the guests or receive feedback about the food. Instead, it’s carefully preserved, like the fruitcake under glass on my altar piece, Pachinko Lottery.”

As a UMOCA Artist-In-Residence, Lee had the ability to work in a studio space, participate in workshops with national artists and art professionals, and showcase his work at the museum in the A-I-R Space. Lee says of his experience at UMOCA, “The studio spaces are great. The visiting artists are great. The opportunities I have had through the A-I-R program have been great. Honestly, it helped me a lot during the year I had after I graduated with my BFA. At times, it felt like the A-I-R program was the only thing keeping my artistic credibility viable—and that includes my artwork.” Lee says he would recommend the A-I-R program “to more established artists who find value in having a space and are seeking to show in a museum setting.” Lee also has advice for future artists: “Study, study, study,” he says. “Academia has been getting a lot of bad rep recently, especially in the art world. That doesn’t mean that study is not important.” Lee emphasizes that the opportunity to study with peers and professionals in your field is priceless, and worth far more than the actual degree. “Be smart, make art,” he says.

Working as an artist can be difficult—but also rewarding. Lee hopes that, during his exhibition, his viewers took the time to Google the David Bowie quote placed on the wall of his exhibition or watched Bowie’s interview on BBC. “Seeing the potential the internet has to radically altar social and individual consciousness will hopefully lead to more unification through diversification,” says Lee. “With the interconnectivity of the internet, the capital-driven companies will eventually be overtaken by those with more of a social/democratic cause.” Lee has a goal to change how we collectively view ourselves, the world around us, and the objects we create—including the internet and artificial intelligence. His ambition will only continue to grow as he ventures further into academia. He plans on studying in an MFA program and will begin applying this year to various schools around N.Y.C. and L.A. “If those don’t work out this time around,” he says, “I’ll be heading toward more residencies and establishing my studio practice.”

You can view Lee’s work at or learn more here.

Artist Interview: Cara Krebs

Sehnsuct: “the inconsolable longing in the human heart for we know not what”; a yearning for a far, familiar, non-earthly land one can identify as one’s home.

Cara Krebs is our current A-I-R Space Artist from our Artist in Residence Program. Sehnsuct is an exhibit of installations, sculptures, and materials that toy with displacement, perception, desire, and visceral reactions. This is a gallery of paradoxical worlds that hover over thresholds and create spaces of potential, the alien, and the familiar.

Cara Krebs’ background consists of painting and drawing—but also, perhaps more importantly, her curiosity and desire to combine and experiment with materials. “My aesthetic changed instantly when I decided to stop agonizing over figuring out why I should use a material or subject in my art before I included it,” says Krebs. Giving herself the freedom to “cram” everything she found interesting into her art, Krebs was able to truly begin creating spaces of illusion and representation that also invest in the viewer of her work. “The paintings were ‘worlds’ where I embedded the trinkets I found,” she says. “My hope is to bring audiences into liminal spaces, or in-between worlds. I’m interested in emotions that come from displacement, beauty, curiosity, and yearning. I hope they feel some sort of desire in response to some of the pieces, whether it be the desire to touch, be in a place, or pick up and have something they see.”

blob_front-lowrez Krebs credits a great deal of inspiration to trinkets and small objects that either no longer serve a purpose or don’t have an obvious purpose—such one of her favorite toys: an inflatable frog from an aquarium gift shop. “It was beautiful,” says Krebs. “Clear, filled with bright green soap. I wanted something that felt curious and beautiful like that. It needed to be something a person might like to possess, but also not indicate clearly why someone would want to possess it.” Other inspirations include computer desktop wallpaper, which make up the imagery inside each of her squishy paintings. “The colors are over-saturated, the locations are unapologetically gorgeous, and the photographers enhanced them to make them as beautiful as possible,” says Krebs. “I’m using these beautiful wallpapers to explore the juncture of beauty, desire, tackiness, and what’s not quite appropriate.”

In this particular show, Krebs has shown her ability to innovate as well as experiment with materials. On two sides of the exhibition are squishy, three-dimensional wall art filled with images from desktops. On the other side is a tall row of empty honey-bear jars. In front of that are plates and plates of colorful, wiggling, vibrating Jell-O sculptures. And in the other room is a water-and-light installation focused on a small inflatable with a mini desktop image. “The art in this show came either from long processes of experimentation or little things I noticed in everyday life that brought me joy. I searched for years for a material that was squishy, completely transparent, and relatively stable, like the material of sticky toy hands.” In her search for the perfect material, Krebs experimented with materials including, but not limited to, gelatin, silicone, melted gummy worms, “Craft Water,” and glycerin soap until, finally, she found what she had been looking for: synthetic ballistic gelatin.

By using this gelatin and many other materials, Krebs brings life to objects that would have otherwise been neglected or thrown away. The idea of giving life and a home to objects and materials, however, is no new revelation for Krebs. “I’ve always felt a strong empathy for inanimate objects,” she says. “When I was growing up, it seemed like objects would be emotionally hurt if I didn’t treat them well. Even though I understood they weren’t alive, they seemed to have a consciousness of what I was doing.” Krebs work brings objects to life in ways that are surprising and attractive. “Most people are curious. It’s easy to want to take a closer look at a weird jigging material as long as the attraction overcomes the fear or disgust.”

krebs-small-image-01For Krebs, fantasy goes beyond its typical definition. It has no end. “It’s everything because it can be anything,” she says. “If we can conceive of it, it exists somewhere, somehow.” For instance, she mentions that even a real location can be turned from the mundane to the fantasy—that it is possible to have nostalgia for a place you’ve never physically visited because you’ve already been there in your mind. Krebs thinks of Ecuador in this way, a place where her mother used to teach and tell stories about. “I felt nostalgia for a time period, location, and events that I never experienced in a place that I had never visited,” she says. “That type of longing is textbook sehnsuct.” Just as there is no limit to fantasy, Krebs argues that there is no limit to art. “Creating isn’t magicking something into existence from nothing,” she says. “It’s combining existing materials in new ways. There are infinite ways to combine the stuff around us and reexamine the world.”

What’s especially unique about Krebs’ work is that there aren’t many artists out there who have used the materials that she has quite in the same way. Krebs has, of course, been inspired by many artists such as David Altmejd’s installation The Fluxand the Puddle, Anish Kapoor’s petroleum jelly and red pigment train, Svayambh, and Jasper Johns’ Painting Bitten by a Man, but the majority of the time, Krebs’ inspiration comes from her daily experiences and art experiments. “I feel like a mad scientist half of the time,” she says. “My studio practice can feel like endless trial and mostly error. I’ve had to learn not just how to be a painter or sculptor, but a chemist, an engineer, an electrician, a chef, and an emergy response team from time to time, without any real training. It’s a blast to make my art!”

Krebs has been able to experiment at UMOCA as an artist in residence. “Having a studio right inside such an amazing museum has been very healthful for my work,” she says. “I felt like people were interested to see what I would make and invested in helping that happen. It was a different feeling than going to a studio I rented by myself with no one to care about anything I did.” Along the way, Krebs had the opportunity to meet visiting artists who sparked ideas here and there—and she could take those ideas and put them to use at UMOCA. “I loved the freedom to experiment that the residency offered me,” she says. “To see ideas that had been on the backburner for so long come together in a museum exhibition meant so much to me.”

Krebs also is our feature artist this month for Family Art Saturday. As an artist who creates pieces that are squishy and soft—and admired by so many children—I asked if she might share any thoughts or advice for future artists. “Never give up,” she says. “The difference between artists actively exhibiting their work and the ones who had to switch careers is that [the successful ones] pressed on when they failed. Everybody fails. The successful ones are just willing to never stop failing.” Krebs is taking her own advice by following her passions and listing clear goals for herself and her future. “Next I want to experiment with different ways to create ballistic gel paintings,” she says. “I’ve wanted to create a massive immersive installation for a while. It would be a dream to have a space, an empty building maybe, in which I could install something elaborate over a long period of time.”

Don’t miss Cara Krebs’ Sehnsuct in the A-I-R Space, closing on Oct 14.

Artist Interview: Andrew Rice


Andrew Rice has evoked emotions of protection and isolation through paintings that remind one of shell-like environments. Rice conveys a feeling of protection—while also asking that we recognize how easily protection can be a barrier from accessing new experiences in our surrounding world. Mixing his talents of printmaking, drawing and painting, Rice invites his audience to experience the various levels of depth, light, darkness and opportunities within his collected work, (re)Structured.

(re)Structured collection - By Andrew Rice

“(re)Structured” will be in the Projects Gallery from Aug 12 to Oct 8.

Originally from Colorado, Rice has been practicing his trade since he was very young, but has honed his talents in college. “It was a trajectory I kind of set myself on in high school, even though I wasn’t really active,” he says. “It was different modes of intensity.” Currently, he lives in Utah and teaches classes on printmaking and drawing at the University of Utah. “What I try to tell my students is though it may seem like [screen printing and drawing] comes easier to to some people than others, it’s a learned practice,” he says. “Talent plays a part, but talent—no mater what—is a reflection of the time and energy you put into something. If it’s something that doesn’t interest you, you’re not going to be putting that time and energy into it.”

Rice’s time and labor are certainly displayed in his 3D, oil-stick project. His pieces typically take a month to finish, depending on the size of the canvas and project. For instance, two of the (re)Structured pieces were started in January of this year. “I work on pieces in tandem,” he says. “I’m not just focused on one at a time. It’s more spread out.” Rather than thinking of individual pieces having a theme, Rice tends to work more with overarching themes that work together to invoke emotion. For this specific collection, he was particularly interested in the juxtaposition between protection and barriers. “Take for instance, this table between us,” he says. “It separates us and provides a barrier, but it prevents another layer of connection in many ways. These man made constructions that keep us comfortable also keep us isolated in a way. It prevents our access to surrounding environments. I wanted to address that idea, but in a different way.”

"the space between us" | Oil Stick | Andrew Rice

Andrew combines oil sticks, sketching, and printmaking to create textured, 3D artworks.

However, Rice’s work isn’t completely about barriers. Within each painting are streaks of light, door-like structures or open staircases. These small, but important, areas of light lend hope to the observer—hope for access, opening a new door or freedom. “That’s one of the best parts about making those pieces and it’s about the only decision I make going into the piece,” he says. “The first thing I do is block off where those spaces will be. I mark them with tape. Then I start with color at the base—let it dry. Add some layer. Black everything out and throw some color on. Black it out again. Very literal layers are what I reference conceptually—layers deep. Something that exists below the surface. And when it’s all said and done, I pull the tape away. Watching the space reveal itself, and watching those doorways suddenly appear—that’s the best part. It’s a literal reveal. And it’s a moment of personal happiness.”

As an onlooker myself, I found personal happiness in those doorways and small moments of hope. Rice hopes that many of his spectators have similar experiences. “I wanted it to be where the audience felt that they could almost walk into the space,” he says. “It’s their passageway in a way. That they can feel the same sense of isolation, but also feel protected. How do you place yourself into this collection? Do you feel comfortable? Hostile? Are you walking into something—or out of something?”

These questions are brought up much in part to the specific mediums that Rice mixes, which create the 3D effect. “I couldn’t replicate that same look through a print, as much as I could try,” he says. “It’s the mixture of drawing-painting-print. For a lot of people, they can jump back and forth. But for me, the reason I wouldn’t pick one over another is because of those intrinsic qualities.” His idea for combining these mediums initially came from an inspiration and interested in artist, Richard Serra, who is famous for his oil stick paintings. “I went and saw a print of his, and the print had the ink pulled off the page a good 1/8 of an inch,” says Rice. “I still cannot figure out how he did that. So I started to try.” Much of his current inspirations come from his students. “Being an art educator at the college level, I’m constantly looking at new pieces and new artists and reacquainting myself with old artists,” he says.

As an educator, Rice believes that hard work trumps talent—and that if you want to be an artist, too, it is entirely possible. “I try to get my students to walk away with the knowledge that they’re going to look at art and design everywhere,” he says. “This picnic table, the street, urban architecture, city-scape layout—it’s all been touched by humans. I try to give my students appreciation and knowledge of that, to help break down any barrier they might have of feeling intimidated by a museum because they feel like they have to ‘get it.’ You don’t have to get it. It’s about appreciation.”

Andrew Rice’s (re)Structured will be on display at the Utah Museum of Contemporary Art from August 12 to October 8. Come explore this exhibit Tuesday–Thursday and Saturday, from 11 a.m. to 6 p.m. and Fridays from 11 a.m. to 9 p.m. in the Projects Gallery. To see more of Rice’s work, visit ­–Alex Vermillion

Contemporary Reactions: Shawn Porter’s “Into the Ether”

Sketches are often mindless beginnings of a thought or idea. It is the first step in creation. Shawn Porter’s Into the Ether, currently on display in UMOCA’s A-I-R Space, is a three-dimensional sketch using a variety of organic materials to create an effortless, playful piece that is open to interpretation. This openness leaves the materials, textures, and juxtapositions for the viewer to focus on.

The viewer first notices solid logs cut into sections lying on the floor. The heavy stumps are broken into pieces, but Porter attempts to reorganize them into lines, like those of their original structure. The texture of the bark is rough and rustic. At times, the bark is mutilated and cut at—exposing the raw wood underneath. Naked. The stumps feel lifeless and dead.

Slowly, another material is introduced: twine. Coarse twine is used here and there, connecting the broken pieces and filling in the gaps, almost as a bandage to mend the fragments together. The bristly twine becomes a fundamental part of reassembling and transforming the structure from what it once was to what it is trying to be.

The logs, with the help of the twine, eventually flow into long, thin strips of pliable wood. Somewhat smooth, light, and elegant, the strips flow with natural ease out of the stumps. The thin strips crawl up the walls as if they are alive, reaching out toward the viewer, searching for light and space, vine-like. The walls are an array of chaos and fluidity. Perhaps these strips act as a freeform sculpture of branches flowing in the wind.

The gallery space lighting is stark. A few bright lights harshly illuminate parts of this natural sketch. The rest of the room is dim, casting shadows onto the floor and walls. The shadows from the thin strips of wood add another playful element to Into the Ether. The dark patterns of lines on the white walls add to the three-dimensional life of this sketch, giving it solidity and surprising mystery.

The exhibition as a whole is imaginative and unexpected. At first glance, Into the Ether appears to be the assembled puzzle pieces of a tree—but not quite. To some, it may verge on whimsical and dreamlike. To others, the organic flow will remind them of medical biology and the flow of the musculoskeletal system. Or perhaps still, Into the Ether is just a collection of objects in a room, highlighting space and volume. Perhaps it is none of these things. The viewer must decide on their own as they engage with the piece. No matter the interpretation, Porter’s mere sketch will leave the viewer wanting more.


Written and Photographed by Jill Lingwall

> View the Exhibition


We love hearing your thoughts and seeing your pictures from and interactions with our exhibitions. Share them with @utahmoca and #UMOCA.

Your gifts help ensure that UMOCA’s artist-in-residence program can thrive. Thank you for your support!
> Make a Gift to UMOCA Today

Mel Ziegler on “Dark On That Whiteness”

On Aug. 26, 2015, we were thrilled and honored to host artist Mel Ziegler for an exclusive preview and walkthrough of our Main Gallery exhibition, Grandma’s Cupboard, which presents Ziegler’s work created during his partnership with Kate Ericson, as well as a survey of works from his solo career.

Here, Ziegler discuss his and Ericson’s large and eye-catching installation, “Dark On That Whiteness.”

Join us as we welcome Ziegler once more to present a free public art talk about his work.
> Learn More
NOV 10 | 7 PM


UMOCA’s exhibition and visiting artist programs are made possible through your generous support.
> Make a Gift to UMOCA

Tatiana Larsen’s art4ONE4all

A-I-R Space: MAR 13 – APR 4

UMOCA’s latest artist-in-residence featured in the A-I-R Space is Tatiana Svrckova Larsen and her art4ONE4all project. For Larsen, this series meant a step away from personal art toward works that would make a change—not for a general audience, but for one specific individual at a time.

The inspiration for each work in the series comes from interviews that Larsen conducts with strangers. As her interviewees reveal their unique stories, personalities, and aspirations, Larsen sets out to create visual representations of their experiences and lifestyles. Not only are the works visibly eye-catching, but they are also poignant. As Larsen manifests these real struggles and triumphs into visual narratives to which viewers can connect, the resulting artwork—and the subjects behind them—become more widely accessible and understood.

“The challenge was to decide what exactly to put into the show,” said Larsen. “In the end, I decided to pick pieces that are more involved with the community and public. The purpose of these artworks is to transform art into service for others.”

xjhYIjvU_61tXq89gdc46pDKIyK1mWx3aaQRJ_MZUKc,p7N0ab1XYxCYcczjKyl0JpKgnEM5cSUiKyABiz825PU,BErO2ph6OKzvDWIgZ0zeDFSregaB1GEE6SICrDMlc7ULarsen features three pieces in the A-I-R Space. In “Rebecca,” Larsen built a small shelter of books painted in camouflage. Rebecca—the inspiration behind the piece—lost her mother in the U.S. military. She herself joined the Army at the age of 18. Throughout her life, Rebecca’s fear kept her from realizing her desires of reading and learning. One day in military training, Rebecca lost her ability to hear—Larsen’s piece, then, manifests Rebecca’s unrealized desires.



Another piece, “Thistle,” is a site-specific art project completed in California, based on the lifestyle of a young transient hitchhiking from Chicago to Mexico. Thistle was playing music on the streets of Provo when Larsen met her. In the piece, Larsen stands resolutely in a hitchhiking pose, and her shadow is stenciled with spray paint onto the street. When a car comes and picks Larsen up, her shadow remains.

Tatiana Larsen“I hope that the people I made this art for will like these pieces. That was my goal from the start, even though along the way I quickly realized that I may be the one transformed most by their stories,” said Larsen. “Everybody’s life is full or experiences and wisdom that others can benefit from.”

Larsen received a BA in Studio Arts from Wichita State University and went on to complete an MFA in Art and Technology from Ohio State University. Larsen’s works often link her personal journey to social topics such as cultural assimilation and interpersonal relationships. In tandem with her yearlong residency at UMOCA, Larsen has led a five-week-long public workshop and worked with community artists in making site-specific performance and installation projects throughout the streets of Salt Lake City.

“The artist-in-residence program provided me with a space and community to make my art, and an opportunity to show my work to the public thanks to the A-I-R Space,” said Larsen. “I am grateful that I had this opportunity. I hope that this program will grow and last for a long time.”

Larsen’s artwork will be on display in the A-I-R Space March 13 – April 4. For more information about Larsen and her work, visit her website. To read about UMOCA’s artist-in-residence program and upcoming exhibitions, visit the museum website.

Site-specific Installation Art

UMOCA and Artist-In-Residence Tatiana Svrckova Larsen Presents Art Installations and Performances on the Night of Gallery Stroll

SEP 19 | 6-9 PM

In conjunction with UMOCA and under the guidance of UMOCA’s artist-in-residence Tatiana Svrckova Larsen, six local artists will create site specific performance and installation pieces throughout the downtown area of Salt Lake City as the precipice of the five week public art workshop taught by Svrckova Larsen. The work will on view at various public locations open for public during the Salt Lake City Gallery Stroll on September 19th from 6-9 pm. Featuring artists are: Lorina Tester, Justin Chouinard, Alayna Putscher, Mark Putscher, Keri Hop, Marie Duffin and Tatiana Svrckova Larsen.

Map of Locations

Lorina Tester, Bearied
Lorina’s installation uses a common object “teddy bear” from childhood that so many people put away and then, years later,  wonder where it went.

Justin Chouinard, In Memory of Leroux Ervine Royal
A eulogy, constructed rather than written or spoken, in memory of a deceased friend, the VHS tape.

Alayna & Mark Putscher, Capture the Moment
Performance (6-9 pm)
A piece showing the life of Sarah a woman taking disappointment and tragedy and turning it around and living her dream. The piece will have a live art demonstration during the event.

Keri Hop, Fragility
Keri Hop’s piece will explore fragility and resiliency.

Marie Duffin, Acceptance is a Small, Quiet Room
Interactive Installation
Marie Duffin Will be using a quote from writer called “Sugar, The Rumpus” and use it as an inspiration for her site interactive installation piece.

Tatiana Svrckova Larsen, Grip
Performance (6-9 pm)
Svrckova Larsen will execute a site-specific endurance performance where the artist is attached to her surroundings without moving for three hours.


Press from Past Projects:
BYU Students Display Art During Downtown Art Walk
Non-Traditional Art in Downtown Provo


UMOCA Adopts Three New Artists-In-Residence

Salt Lake City, UT – The Utah Museum of Contemporary Art (UMOCA) is pleased to accept Kyle Jorgensen, Sean Moyer and Aundrea Frahm into the fold of UMOCA’s burgeoning Artist-In-Residence (A.I.R.) program.

The A.I.R. program was introduced January of 2013 and has flourished since its creation. Developed to foster local Utah talent, residents are fortunate to receive multiple career building opportunities through support of the museum including resident led workshops for the public, special access to visiting artists and lecturers, and exhibition opportunities in the soon to be launched A.I.R. Space Gallery.

Curator of Education, Jared Steffensen, reflects on the decision by saying, “UMOCA is proud to welcome these three artists to the residency program. We are excited to add them to our community of artists knowing that their presence will enhance the ever changing dynamic of the program.”

About the Artists
Kyle Jorgensen

Jorgensen received a BFA from Idaho State University in 2010 and thereafter moved to Portland, Oregon to pursue his art practice. He has shown his talent of abstract dream-like painting, installation and drawing in several galleries across the Northwest and California such as Breeze Block Gallery, Gallery Hijinx, White Walls Gallery and LxWxH Gallery. His work has also been featured in institutions such as San Franciso’s 96 Hours and Vangaurd Seattle. He currently resides in Salt Lake’s avenues with his collection of plants.

Sean Moyer

Moyer grew up in Northern Illinois and moved to Utah to study at Weber State University. He recently graduated with a BFA in sculpture.  Moyer’s work explores the ins and outs of space around geometric forms. By approaching mundane objects with a painterly style, the objects transform into items of immense arrangements. He practices with spray paint, a form typically used in advertising and commercialism, to raise works from low to high status and explores what such acts convey to audiences.

Aundrea Frahm

Frahm is a multidisciplinary artist and art educator who is currently investigating relationships to time and it’s inescapable effects. She has also tampered with ideas relating to: the interconnectivity of the body and nature, the body and the artificial, and relationships to technology; some of which were delved into while in her undergraduate study at Brigham Young University and graduate study at the School of the Art Institute of Chicago. She has exhibited nationally and currently resides in Utah where she teaches part-time at Brigham Young University.

UMOCA’s 2014 Artists-In-Residence Announced

Utah Museum of Contemporary Art is pleased to announce that Jonathan Frioux, Levi Jackson, and Tatiana Svrckova Larsen have joined the Artist-in-Residence program for 2014. Jorge Rojas will also join UMOCA as the Educator-in-Residence this summer.

“We are excited to have a new dynamic with this next group,” says Jared Steffenson, UMOCA’s Curator of Education. “The Artist-in-Residence program is really getting established and will continue growing and changing to further support the art community here.”

This is the third group of artists that UMOCA has selected as Artists-in-Residence, and the second artist selected as Educator-in-Residence. The programs give artists and teachers career-building opportunities to learn from national curators and critics, in addition to instruction at workshops and monthly critiques. Past visiting curators included Jade Walker, director of the Visual Arts Center at the University of Texas at Austin, and Jeff Lambson, curator of contemporary art at the BYU Museum of Art.

Artists Frioux, Jackson, and Larsen will be part of the residency until April 2015. Rojas, artist and art history teacher at East High School in Salt Lake City, will participate in the program from May 2014 until August 2014.


The residence programs are generously supported by the Richard K. and Shirley S. Hemingway Foundation, the Utah Division of Arts and Museums, and the R. Harold Burton Foundation.

Nathan Florence Will Be UMOCA’s Educator-In-Residence for Summer 2013





Contact: Sarina Ehrgott | | 801.328.4201 | 20 S West Temple, Salt Lake City, UT 84101
Tuesday – Thursday and Saturday 11 AM – 6 PM | Friday 11 AM – 9 PM

April 17, 2013


Nathan Florence Will Be UMOCA’s Educator-In-Residence for Summer 2013

Utah Museum of Contemporary Art (UMOCA) is very pleased to announce that Nathan Florence will join the residency program as Educator-In-Residence for summer 2013. Florence’s residency with be from May to August, which will allow him to be a part of our open house and will benefit from inclusion in a curator visit.

The Educator-in-Residence program is a way to introduce contemporary art practices and ideas to local Junior High and High School art teachers. It’s a chance for educators to work side by side with UMOCA’s artists in residence to get a better understanding of their work process, to hear opinions from artists about art, and to help artists gather ideas. This will encourage a greater focus on contemporary art in classrooms and inspire students to start these types of conversations.

Nathan Florence is a Jr. High School art teacher with experiences both on education and art at Weilenmann Charter School. Florence is an outstanding artist as well having participated in several solo exhibitions and selected group exhibitions since 1996.

“One of the best parts of this residency, for me, is the opportunity to work in close proximity with other artists. I love the dialogue with other artists–and having the studios in the museum itself, with the visiting curators and others, makes the opportunity even richer.” says Nathan Florence, “I’ll be working on my fabric-based figurative paintings as well as continuing work on my current film project, Art and Belief, which will eventually premier at UMOCA, is itself about a community of artists and their working dialogue.”

The Residence Program is generously supported by the Richard K. and Shirley S. Hemingway Foundation, the Utah Division of Arts and Museums, and the R. Harold Burton Foundation.

 About UMOCA

The award-winning Utah Museum of Contemporary Art exhibits groundbreaking artwork by local, national, and international artists. Four gallery spaces provide an opportunity for the community to explore the contemporary cultural landscape through UMOCA’s exhibitions, films, events, classes, and presentations.

Founded in 1931, the Utah Museum of Contemporary Art has been recognized as Best Museum in the State of Utah for 2011, 2012 and 2013 is a four-time recipient of funding from the Andy Warhol Foundation.

Located at 20 S. West Temple; open Tuesday-Thursday: 11 a.m. – 6 p.m.; Friday: 11 a.m. – 9 p.m.; Saturday: 11 a.m. – 6 p.m.; closed Sunday and Monday. Admission is free; $5 donation is appreciated. For more information call (801) 328-4201 or visit