R8 - THE ARTS - RED JAN21 - 1999 Can You Spell Vy Rick by EMILY DAVIS by RICK MORTENSEN RED Magazine Columnist Some Thoughts on the ----- Sundance Gyros fter hearing about last year's Chronicle film w critic Ryan Hinman's JwlX wild time at the 1998 Sundance Film Festival, I immediately began lobbying to be this year's Chronicle representative. The squeaky wheel got the grease, and in three day s I will be at Utah's biggest annual party. I'll probably see some films, too, if only I could decide which ones. I tried to put off deciding as long as possible after reading the first few adjective-intensive blurbs in the Sundance Film Guide. Maybe it was the picture accompanying the film description of "The Loss of Sexual Innocence," with four inter-racitwenty - Zl al ...in three days will be I at Utah's biggest annual party. I'll probably see some films, too, if only I could decide which ones. somethings haughtily staring up at me that scared me. From the blurb, I learned this film is an "extraordid narily beautiful and work. Reaching into the etherial atmosphere of ideas while enrapturing us with an array of stunning aesthetics." (incomplete sentence as appeared in guide). Sounds lovely, but what does it mean? Still, if these words had appeared in a newspaper right next to a review slamming "You've got Mail," I might take notice. However, the guide described every film with equally inflated language, and after a few, I was jaded. With many of the films in multi-layere- see RICK, page R9 I I J eginning the new I year with an exhibit that is rich and diverse, the Art BarnFinch j Lane Gallery is currently showing the works of three women artists: Tanja Khvtisi-ashvilMandi Maudlin and Susan Price. Though these women do not share expression through the same medium, the contrast between the materials used to produce their art and the ways that each incorporates both weaving and layering materials in their work presents a detailed exhibit which invites the patient viewer to explore its intricacies. Through the art of tapestry-makinknown as Gobelins, creates Khvtisiashvili Tanja vivid images that are remarkable for their gradual shifts of tone, their layers of color, and their dense, intricate weaving. " Pieces such as "Farewell War" "The at first and glance appear to be the simple juxtapositions of hundreds of colors until subtle shapes and subjects begin to come forward, merging and blending together. The images are flexible, yet dependent upon one another. As a recent immigrant to Utah, Khvtisiashvili uses the tapestries to explore cultural issues and traditional figures. As she explains, "through my tapestry paintings, I try to combine the two historical and fascinating cultures of Russia and Georgia, and incor i, g Tbli-sisi!- porate them into my identity in this new and extremely different culture of America." Like Khvtisiashvili's tapestries, Susan Price's mixed media pieces present the vivid juxtapositions of vibrant colors, creating strong, detailed images that are infinitely more complex than they first appear. Out of the variations of color come elephants, snakes, and other wildlife. While the subjects of almost all of her collages are representations of animals, there is also some element of human presence within each piece, introducing the relationship between the two. Price compares the process of her art to a "scientific investigation." She states, "A biologist, for example, recognizes that shape, form, and color are elements critical to life. These elements evolve over time and may change in response to other shapes, forms, and colors present in the environment. Similarly, I cut images, usually calendar art, into random shapes with no preconceived idea about the end product. I examine the pieces, move them around, put them next to other pieces until I get an intuitive clue." Her pieces are whimsical and stimulating, encouraging the viewer to cut up and reshape the images which surround them. Working with organic materials to create graceful, woven vessels, Mandi Maudlin's work contrasts the intensity of Price's collages and the textur-a- l density of Khvtisiashvili's tapestries. by BRIAN WATTS n a world full of disposable pop music and constantly changing fresh, mass culture consumed faces, it's nice to find a genuine person and be reminded that sometimes the stories behind the music are just as important as the music A Emerging from her "lifetime fascination with the natural world," Maudlin's pieces use branches, leaves, berries, and seeds to shape and form languid shapes. The delicate appearance of each piece belies its strength. The art of Tanja Khvtisiashvili, Mandi Maudlin, and Susan Price is diverse both visually and thematically. Together, the exhibit explores various issues, such as nationality and gender identity, with pieces that are both delicate and visually strong, challenging the viewer to look at both apparent and implicit intricacy of each piece. The exhibit runs through February 19th. Voice in Exile A itself. Yungchen Lhamo fled her native homeland of Tibet over nine years ago. Since that time, she has become one of the most famous Tibetan artists of all time. She performed on some Lillith Fair dates and appears on the Lillith Fair CD. She also sung backup on Natalie Merchant's most recent album. Lhamo's accomplishments are even more impressive in the light of her harsh childhood. The horrific conditions of the people of Tibet have become more and more publicized as high profile celebrities and musicians have come together to organize fund raisers and benefit concerts like the star choked Tibetan Freedom Concert in New York, at which Lhamo appeared. Lhamo's talent was recognized at a young age. Her name, given to her by a Lama, means "Goddess of Song." This talent, combined with an intense work ethic, catapulted her to artistic success. The hard work is nothing new for Lhamo, "I went to work very young, after my two older brothers died of malnutrition." , It is difficult to integrate such statements into our consciousness in cuddly Salt Lake City. It is important, however, that we realize where Lhamo's music stems as horrible events like this drastically inform her music. The softness of Lhamo's voice is not quiet or reserved, it simply forces audiences to listen with greater intensity. When she sings, she is able to convey a tremendous amount of strength and "Farewell to Tbilisi" by Tanja Khvtisiashvili is one of the pieces currently on display at the Art BarnFinch Gallery. energy without significant instrumental backing. Her first major release, Tibet, Tibet was a strictly a capella affair. Her most recent album, "Coming Home," shows her willingness to expand and explore different musical directions. On "Coming Home," Lhamo utilizes instrumentation beautifully, never allowing the instruments to interfere with her voice. Lhamo credits a large part of this shift to Hector Zazou, who has worked with artists like Bjork, John Cale and Suzanne Vega. "He's a good man and that makes a big difference to me." Despite the use of instruments on "Coming Yungchen Lhamo will sing tonight on campus. Home," Lhamo still performs all of her concerts a cappella. "Singing a capella is very difficult. You feel totally responsible for everything the audience feels. Every sound is created by yourself." Lhamo will perform a cappella tonight in the Behavioral Sciences Auditorium. Proceeds of the concert will benefit the Tibetan Children's Village, a charitable institution for the care of orphaned and destitute Tibetan children. Here's a chance to enjoy some great music and support a good cause at the same time.