Regina Stenberg in her Guthrie Building Studio

To describe Regina Stenberg’s current work, now on exhibit at Finch Lane Gallery, as “drawings of clouds” aptly captures the “what” of her work but not the “how.” To create her contemplative cloudscapes |0| the artist works vertically, with watercolor paper suspended against the wall with a flexible (linoleum) surface behind it; she dips a variety of fabrics into loose graphite and works it both onto and into the paper. Terry cloth is best for working into the paper because the raised texture of the fabric creates a “tooth” to pull the graphite in, creating a richer effect. The process is very immediate and efficient she says. “There’s no drying time.” Still, each piece in this show took about 20 hours to complete. Each has many layers. “The piece changes as I work on it and I kind of feel like the drawing is revealed as I put the layers on.”

Stenberg has always loved making art. Before coming to Utah with her family six years ago, she pursued a major in studio art, but realized that getting a paycheck would be helpful, so worked as a landscape designer with architectural firms. “Life kind of took over, we moved around a lot, I had kids. But then coming to Salt Lake was a great thing – there’s so much inspiration here. In Connecticut you see the sky, of course, but here it’s BIG sky. When I first moved here I just felt more exposed, and it wasn’t a negative experience.”

Stenberg has almost always done landscapes (in other mediums), has recently focused on cloudscapes — “I really like things in nature that have high contrast” — and next wants to do a series of waves. The crisp white edge on her current work is deliberate. “It reminds me of the way old black and white photographs looked, and these drawings from a distance are reminiscent of old photos.” With a touch of wryness she comments that it is interesting that something that takes her such a long time could ultimately look like something that took one quick camera click. The use of graphite dictates the term “drawing,” but her work is very painterly, so it seems a pity not to call them paintings. Stenberg doesn’t want to make something other than cloud and sky out of her pieces – it’s important that it not be likened to the leisurely occupation of staring at the sky and seeing in it recognizable images like faces or animals. The pure essence of sky is everything. She views her drawings as “…quiet, sensitive drawings that take a certain patience to create.” She has been working on other drawings of snow falling at night, which she finds harder to translate to an audience. “I want to continue to look for things in nature that have contrast, whether it’s light and dark, or shadow and something physical.

Stenberg also volunteers as an art teacher in the elementary school system in Salt Lake City, usually working with two classes per year. This entails corresponding with faculty and staff, creating lesson plans, finding art supplies. She found that having a studio away from her home was essential in a life in which she juggles her artwork, her volunteer work and her family life with a husband and 2 school-age children. She loves the Guthrie Building on 200 South, with its big windows and high ceilings. “I love the smell of the building as soon as you walk in … I try to get here around 8:30 and start working – the building is quieter then. Depending on my schedule I’ll stay for 3, 4 or 5 hours. I don’t always have a lot of time so the immediacy of coming and working and then just taking off my apron and walking out is a great benefit. I tried to work at home but it was frustrating – the phone would ring, the washing machine buzzer would go off, and space for my pieces was an issue.”

Stenberg feels lucky to be drawn to a subject that is infinitely varied. If she feels “stuck” on a piece, she can step away and work on any one of several other drawings she has going, then revisit the “sticker.” If she gets stuck on a bigger issue, like “what should I draw” she looks at photographs or wanders through bookstores to get a little “nudge.” She had a show last spring at the Alpine Gallery and has exhibited at each open studio event at the Guthrie. As it is for most artists, exhibiting her work is not the most comfortable experience, but she is very grateful for it. “I listen and appreciate what people say – I’ve heard both positive and negative, and that’s okay. When I first started showing I felt more private about it, but now it’s okay. You do have to be okay with the idea that not everyone’s going to like it. It’s the same in any creative field.”

Carol Fulton

Carol Fulton got her degree in radio and television production a long time ago. She was born in Brazil and lived in many countries. Now retired from the airline industry, she dabbles in oil painting and found-object sculpture.