Mark England

The American landscape is cloaked in cultural opacities and cluttered with human debris. I contend that no one with a twentyfirst-century eye can see through the layers of artificial meaning and histories we have imposed onto this finally impenetrable continent. So, rather than trying for that ever-elusive glimpse of a landscape or history in its purity, I choose to paint the perceptions and impositions between us and a place we cannot know. When the subject matter is the United States, it becomes a very personal exploration. Now I am working through the challenges of color and value in the more unfamiliar territory of other countries, some of which I have never seen personally. Therefore, these paintings are a dialogue between my personal perceptions, experiences, and imagination and the many public ones about different people, places, and entire nations. In my paintings of different countries I am far more concerned with representing and questioning cultural and visual expectations than with illustrating a scene. In a sense, my paintings and drawings are anthropological; in them, I often dwell on the values, activities, and events of ancient and contemporary cultures, “tracing” the traces they left behind. I am especially intrigued by the events through time that tie seemingly unrelated people and events together in broad cycles: Ancient sea voyages, a people migrating to a refuge, historic battles, a place that every generation believes is a promised land inhabited by many self chosen peoples that either prosper or suffer because of their activities on the land.

All of my work, in some way or another, is about landscape and how people see themselves through it and impose their values on it. My paintings are both referential and highly interpretive, depicting panoramic views of specific locations. They deal with our perceptions of time, social and environmental history, and tend to look like maps, but my “maps” are not accurate according to cartographic expectations. These are maps of time, culture, dreams, perceptions, the future, and how we wish to see ourselves and our history. They invite the viewer to become lost in them and then to make conscious and intuitive sense of the perceptual environment. I twist perspective, visually and historically. Because of the juxtaposing of unrelated buildings and events, each scene could be hundreds of years in the past, or in the process of being constructed, or in the future after everything has been torn down, destroyed, or worn away. All things, time, history, memory, and perceptions are present in these paintings.

I like to ‘invert” the viewpoint from what we are used to seeing, not only to challenge our perceptions and assumptions about what we are seeing, but also to literally turn our world upside down in general, which is what art should do. These paintings are portraits of my country, the nation I have a complex attachment to.

resume

I currently live in Salt Lake City where I also own and manage Dolcetti Gelato. I have four creative children.  My ancestors came across the prairies which gives me a peculiar relationship to the history of the west. Both love and regret. 

my story

MARK ENGLAND

1194 South 500 East

Salt Lake City, Utah, 84105

(801) 359-2259




EDUCATION

August, 1988: M.F.A. in painting, Brigham Young University.

1986: B.F.A. in drawing, Brigham Young University




SIGNIFICANT SHOWS

“Mapping”, Dixie State College, 2017

“Sacred Spaces”, Springeville,  December, 2017

Springeville Museum, January 2016

Finch Lane Gallery, Salt Lake City, Utah 2015

Visions West art Gallery, Boseman Montana, May, 2014

Art of the West, Park City, Utah, April, 2013

Poor Yorick, Salt Lake City, Utah, March, 2013

Aqua Miami, Florida, December, 2012

J Go Gallery, Park City, Utah, December, 2012

Poor Yorick Studios, Salt Lake City, 2011

Rio Grand Gallery, Salt Lake City, 2010

Kimball Art Center, Park City, September, 2009

Brigham Young University, October, 2009

Finch Lane Gallery, Salt Lake City, December, 2008

Ogden Union Station, Ogden, Utah. November, 2007

Reunion: Dixie State College, St. George, Utah. 2007

Utah Arts Council Rio Grande Station 2007 Fellowship Show

Kayo Gallery, Salt Lake City, July, 2006

Finch Lane Public Gallery, Salt Lake City, May 2006

B.Y.U. Library, Provo, Utah, April, 2006

Third and Main, Salt Lake City, Utah, January, 2003.




SELECTED JURIED SHOWS AND AWARDS

2018 Springeville Salon Exhibit, Honorable mention

2017 Springeville Salon Exhibit

2016 Springeville Salon Exhibit

2015 Springville Salon Exhibit

2014 Utah Arts Council statewide exhibit, Best in Show Award, Purchased by the State

Art Collection

2014 Finch Lane 50 year Anniversary Show

2014 Springeville Salon Exhibit

2013 Springeville Salon Exhibit

2011 Utah Arts Council Statewide

2010 Utah Arts Council Statewide

Springeville Museum of Art

Art Access Gallery

2009 Salt Lake Art Center, Not Just a Pretty Face (Two Commissions)

Art Access Fundraiser

2008Art Access Gallery Fundraiser

Boxes: Art Access Gallery

Utah Arts Council Statewide

Salt Lake County purchase of “Biography” ($12000)

Garbett Homes Corporate Office Commission ($7,000)

2007Utah Statewide Show

April Salon: Springville, Utah

Art Access Gallery Fundraiser Show

2006 Utah Arts Council Fellowship Award $10,000

Art Access Gallery Fundraiser Show

Religious and Spiritual Art Show, Springville, Utah

Utah Arts Council grant recipient show

2005 Utah Arts Council $2000 grant recipient

Utah Arts Council Statewide 2005 Painting and Sculpture

Travel Award

2004 Utah Arts Council Statewide Works on Paper

$600 Juror and Travel prizes

2003 Utah Arts Council Grant Recipient Show

Utah Arts Council Development $1200 Grant

April Salon: Springville, Utah

Juxtapositions: The Artist and the Environment, Finch Lane, S.L.C.

Utah Art 2002 Olympic Exhibition, Salt Lake City, Utah

150 Years of Utah Artists, Springville Museum

Black and White Exhibition, Eccles Art Center, Honorable mention

2001Louisiana State University 2001 Works on Paper

9th National Juried Show, Northern New Jersey Art Center

Mesa Contemporary Arts National Drawing 2001, Mesa, Arizona. Cover Art for

Invitation to Mesa Contemporary Arts

Utah 2001 Works on Paper, $600 Merit and Travel Awards

April Salon: Springville, Utah,Type your paragraph here.