Discover Art
by Latter-day Saints
Brent Croxton (American, b. 1955)
Two Trees (diptych) (2025)
Digital, 30"x30"
Used with artist’s permission
“And out of the ground made the Lord God to grow every tree that is pleasant to the sight, and good for food; the tree of life also in the midst of the garden, and the tree of knowledge of good and evil.” - Genesis 2:8
The art prints in this diptych represent two trees that were planted in the Garden of Eden. The Tree of Life is shown with circular shapes and multi-colored which represents vitality, the cycle of life and death, and the feminine form. The Tree of the Knowledge of Good and Evil is represented here in black and white with two halves – the lighter half signifies good, the darker half evil. Hard-edged geometric forms represent tension, opposition, and the masculine form.
The two skulls represent Adam and Eve. The snake and the fruit represent the temptation. Both trees are holding up the “heavens” and both are watered by the river that ran through the Garden. The hands represent the God’s hand in the creation process.
“From earliest times, people in many cultures have venerated trees because they are majestic and compared to a person’s life span, seemingly immortal. Groves were among the first places used for sacred rites, and many cultures envisioned the heavens supported by the branches of a giant tree whose roots led to the underworld and whose sturdy trunk formed the link between the two realms.” - Encyclopedia of Mormonism
Life, Knowledge, Trees & Choices
Father to 5 sons.
Husband to 1 wife.
Poppy to 9 grandchildren.
BFA in Graphic Design from BYU.
Creative Director for The Church of Jesus Christ of Latter-day Saints.
Currently lives in Springville, UT.
Loves the beach.
About the Artist
Sofi Wheatley, (American, b. 2010)
Galah in Gold (2025)
Medium acrylic paint, 36 x 24 inches
Currently a high school sophomore in Salt Lake City, Sofi Wheatley has been called a “sophisticated and a canny artist, at a rather precocious age” by local art critics. Her vibrant pieces bring together pattern, color, and personal connections; often using siblings and friends as figure models.
“I love to paint figures and birds,” Sofi says about her work. “This is a self portrait and the bird is a type of parrot called a galah.”
Gala in Gold
Sofi’s work displayed at David Ericson Fine Art in 2025.
Peter H. Everett (American, b. 1969)
Aura Curtain (2024)
Ink, acrylic, and oil on prepared paper, 77 x 55 inches
Permanent collection, Springville Museum of Art
Used with permission of the artist
Between Sleep and Consciousness
Aura Curtain is part of Peter Everett’s Hypnagogic series.
“The patterns and shapes in my work are often derived from visual phenomena experienced in transitional periods—between sleep and consciousness or in a meditative state,” says the artist of this series. “The work is additive in nature and favors complexity leaning towards a hyper-stimulated visual experience.”
Peter Everett’s recent work explores forms that have an immediate visual power, physicality, and sense of urgency growing from a place just out of sight.
Peter Everett was born in Utah and grew up moving around the country with his formative years spent in Cleveland, Ohio. Peter received an MFA in painting from Pratt Institute and exhibits his work nationally and internationally, including group exhibitions at the Momentary at Crystal Bridges Museum of American Art in Arkansas, the Utah Museum of Contemporary Art, LSU Museum of Art, Michigan State University, Pratt Institute, HPGRP Gallery in New York City, Orange County Center for Contemporary Art in California, Barbican Arts Group Trust in London, The Korean Cultural Center in Los Angeles, Hunter College in NYC and the Spectrum Project Space in Perth, Australia. He has had solo exhibitions at the Torrance Art Museum in Los Angeles, the Urban Institute for Contemporary Art in Grand Rapids, MI, CUAC in Salt Lake City, UT, Granary Art Center in Ephraim, UT, the Utah Museum of Contemporary Art, and Material in Salt Lake City.
Bas Relief on Circuit Boards
Gonzalo Silva
Territorio sonoro (2025)
3D print, laser engraved FR-4 circuit board, 9½ x 13¾ inches
Created as part of the 2023 Ariel Bybee Endowment Prize in visual art
Instrumentos de silencio is a visual art exhibition exploring music as a way knowledge is stored, passed on, and transformed.
This series of 3-D printed bas reliefs, Territorio sonoro, explores the use of music as a technology for dominance. It connects the architectural designs of the “Musical Angels” friezes in the Trinidad Reduction with inset maps, engraved on computer circuit boards, that depict Spanish Jesuit settlements that took place over Guaraní territories (present-day Paraguay and Argentina).
After unveiling in New York and traveling to Berkeley CA, this work and others will arrive at UMOCA in Salt Lake City, Utah on January 16th.
