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by Latter-day Saints

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.

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

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.

Attend the Utah premiere of Instrumentos de silencio.