“Sculpture from the Church’s Second International Art Competition,” Ensign, Aug. 1991, 42–47
Sculpture from the Church’s Second International Art Competition
Latter-day Saint artists from around the world used their understanding of the scriptures to create works of art for the Second International Art Competition sponsored by the Museum of Church History and Art. The competition, titled “Themes from the Scriptures,” consists of more than two hundred pieces of artwork based on concepts or stories found in the scriptures. Paintings, sculptures, quilts, and pottery are currently on display in the Salt Lake City museum until 2 September 1991.
Here we focus on artists who used their understanding of the scriptures to shape sculptures from stone, clay, wood, or bronze for the competition.
The Lord’s Visit to His Other Sheep (3 Ne. 17:10). Painted clay sculpture by Christa Christians de Satizabal of the Norte Ward, Bogotá Colombia Stake: “I desire this to be a model for a monument in Bogotá. This would bring the people of Colombia to a deeper understanding of their heritage as a remnant of the house of Israel and their destiny as children of God.”
Dedication of The Kirtland Temple, 27 March 1836 (D&C 110:2–3). Clay sculpture with stains and luster by Jim Adamson of the Loomis Second Ward, Roseville California Stake: “I wanted to recreate the image I saw in my mind’s eye as I first read the account of the dedication of the Kirtland Temple in the scriptures. I wanted to make the temple seem as if it were floating above the ground. The golden base symbolizes holy ground and the transcendental space of heaven. I wanted to make the work more meaningful, so I inscribed references from personal journals of those who were there.”
Alpha to Omega. Stoneware clay sculpture by Douglas Taylor of the Dixie College Seventh Ward, St. George Utah College Stake: “Lorenzo Snow said: ‘As man now is, God once was. As God now is, man may be.’ (Deseret Weekly, 8 Oct. 1889, 57:513.) The baby symbolizes each of us in our premortal state. The footsteps in the clay increase in size as they move away from the infant. They represent our growth throughout eternity, which is represented by the Greek letters alpha and omega.”
To Everything There Is a Season (Eccl. 3:1–2). Carved basswood sculpture by John A. Taye of the Boise Twenty-fifth Ward, Boise Idaho East Stake: “The objects in this still life symbolize phases of life. The seeds represent potential for future growth; the fruit represents ripeness and mature development; the skull represents mortality and death. The drapery helps unify these concepts into one design.”
The Last Nephite Battle (Morm. 8:2–4). Carved wood sculpture by Victor De la Torre of Caracas, Venezuela: “This work is dedicated to the Nephite prophet Mormon and to his son Moroni. The panorama depicts the final struggle between the Lamanites and Nephites in a great battle near the Hill Cumorah. After he gave the records to his son, Mormon led the remaining soldiers in a final battle.”
After This Manner Shall Ye Baptize (JST, Mark 1:6). Cast stone sculpture by Wayne Taysom of the Waldport Branch, Corvallis Oregon Stake: “I wanted to convey the feeling of motion as the young girl comes out of the waters of baptism. The arcs in the top segment of the sculpture represent the Holy Spirit surrounding them.”
The Good Shepherd (John 10:11). Cast bronze sculpture by Cynthia Hailes of the Millville Third Ward, Providence Utah South Stake: “I wanted to depict Christ as a powerful character and yet capture the tender love with which he gathers us, his sheep.”
Earthmovers (Matt. 17:20). Cast bronze sculpture by Carol Dunford-Jackman of the Edgemont Seventh Ward, Provo Utah Edgemont South Stake: “I attempted to capture the freedom and spirit of children, and the absolute faith they have that if they want to make a lake, they can make a lake—and they are willing to work for this goal.”
Moroni with the Plates of Gold (Morm. 8:1). Carved soapstone sculpture by Sergio Kodama of the Cidade Dutra Ward, São Paulo Brazil Interlagos Stake: “Here the prophet Moroni, dressed in his suit of war, holds the sacred plates.”
Queen Esther (Esth. 2:8). Carved maplewood sculpture by Roger W. Otis of the Fairport Ward, Rochester New York Palmyra Stake, based on a 1939 oil painting by Minerva Kohlhepp Teichert: “Esther reminds us of the important contributions of women. We must not forget courageous women like Queen Esther, who put her own life in jeopardy to save the lives of an entire generation.” This sculpture was the winner of awards of distinction and purchase.
Photography by Ron Read