PERSONAL NARRATIVE- Peter Bennett & Elizabeth Bailey > Exhibition #2
Exhibition #2
Kip Harris/ Law Office Once Library
HONORABLE MENTION
HONORABLE MENTION
KIP HARRIS
'You Can’t Go Home Again'
"You can't go back home to yourfamily, back home to yourchildhood ... back home to a young man's dreams of glory and of fame ... back home to places in the country, back home to the old forms and systems of things which once seemed everlasting, but which are changing all the time – back home to the escapes of Time and Memory."
—ThomasWolfe, You Can’t Go Home Again
"I grew up in the 1950s in St.Anthony: a small, farming community in southeastern Idaho. The Snake River runs through the center of the town and the Teton Mountains are visible on a clear day. While having only 2,500 residents, it was the county seat and had a post office, a court house with jail and a small library where I spent a good deal of time, and an armory where sawdust was thrown down for Saturday nightdances featuring country and western bands. Every possible inch of arable land surrounding the town was used for planting potatoes.
Construction of the nearby earthen Teton Dam began in 1972; it was completed in November 1975. On June 5, 1976, it collapsed. Local communities were immediately flooded with water. 80% of the houses in Rexburg were damaged. The village of Teton, the birthplace of my father, was destroyed. While the $200 million in relief aid created a building boom in Rexburg, St. Anthony continued its slow death.
The elementary schools and high school have been demolished and a new regional school built on the edge of town near a new small Walmart. The sawmill is gone as are the grocery store and Chevrolet dealer and the drug store where you could sit at the counter and order a cherry Coke. The Hopperdietzel Cheese Factory closed in 1977. The bowling alley is still there but the movie theater went dark many years ago. The cafes have been replaced by convenience stores serving up slices of previously frozen pizzas.
My father’s bar is slowly being renovated but the livestock brands on cedar shingles still decorate the walls. The rooms above it can now be rented by tourists instead of used by locals on a drunk. The Masonic Temple, which was also upstairs, has moved. There are buildings missing from the main street like the teeth on a hockey player.
In December 2023, I drove from Utah to St. Anthony to place the ashes of my sister in the Snake River. It had been a place where she had been happy and admired. I read one of her favorite poems from e. e. cummings and drove away into flat, barren landscape. It started to snow."
Harris grew up in a small farming community in Idaho. He holds degrees in English literature from Dartmouth College, in humanities from the University of Chicago, and architecture from the University of Utah. He was a principal of FFKR Architects in Salt Lake City for nearly 30 years.
A serious photographer since the late 80s, Harris has exhibited in the United States, Canada, Australia, Japan, and Europe. He has been published in Shots Magazine, The Photo Review, All About Photo.com. Street Photography Magazine, Barren Magazine, Tagree, Square, Black & White Magazine (cover) and a number of on-line photographic sites. He has been a resident at the Rural Residence in Contemporary Art in the Val Camonica Valley of Italy and Gracia in Antigua, Guatemala. Place M Gallery in Tokyo presented a solo exhibition of 40 of his works from the “At Work” series in May 2025.
'You Can’t Go Home Again'
"You can't go back home to yourfamily, back home to yourchildhood ... back home to a young man's dreams of glory and of fame ... back home to places in the country, back home to the old forms and systems of things which once seemed everlasting, but which are changing all the time – back home to the escapes of Time and Memory."
—ThomasWolfe, You Can’t Go Home Again
"I grew up in the 1950s in St.Anthony: a small, farming community in southeastern Idaho. The Snake River runs through the center of the town and the Teton Mountains are visible on a clear day. While having only 2,500 residents, it was the county seat and had a post office, a court house with jail and a small library where I spent a good deal of time, and an armory where sawdust was thrown down for Saturday nightdances featuring country and western bands. Every possible inch of arable land surrounding the town was used for planting potatoes.
Construction of the nearby earthen Teton Dam began in 1972; it was completed in November 1975. On June 5, 1976, it collapsed. Local communities were immediately flooded with water. 80% of the houses in Rexburg were damaged. The village of Teton, the birthplace of my father, was destroyed. While the $200 million in relief aid created a building boom in Rexburg, St. Anthony continued its slow death.
The elementary schools and high school have been demolished and a new regional school built on the edge of town near a new small Walmart. The sawmill is gone as are the grocery store and Chevrolet dealer and the drug store where you could sit at the counter and order a cherry Coke. The Hopperdietzel Cheese Factory closed in 1977. The bowling alley is still there but the movie theater went dark many years ago. The cafes have been replaced by convenience stores serving up slices of previously frozen pizzas.
My father’s bar is slowly being renovated but the livestock brands on cedar shingles still decorate the walls. The rooms above it can now be rented by tourists instead of used by locals on a drunk. The Masonic Temple, which was also upstairs, has moved. There are buildings missing from the main street like the teeth on a hockey player.
In December 2023, I drove from Utah to St. Anthony to place the ashes of my sister in the Snake River. It had been a place where she had been happy and admired. I read one of her favorite poems from e. e. cummings and drove away into flat, barren landscape. It started to snow."
Harris grew up in a small farming community in Idaho. He holds degrees in English literature from Dartmouth College, in humanities from the University of Chicago, and architecture from the University of Utah. He was a principal of FFKR Architects in Salt Lake City for nearly 30 years.
A serious photographer since the late 80s, Harris has exhibited in the United States, Canada, Australia, Japan, and Europe. He has been published in Shots Magazine, The Photo Review, All About Photo.com. Street Photography Magazine, Barren Magazine, Tagree, Square, Black & White Magazine (cover) and a number of on-line photographic sites. He has been a resident at the Rural Residence in Contemporary Art in the Val Camonica Valley of Italy and Gracia in Antigua, Guatemala. Place M Gallery in Tokyo presented a solo exhibition of 40 of his works from the “At Work” series in May 2025.
Kip Harris/Harvested Field
Kip Harris/Main Street From Silvershoe
Kip Harris/Snow Snakes
Kip Harris/Stained Glass
Laurie Peek/For Alvin
LAURIE PEEK
"GINKGO! Long revered in East Asian culture as a symbol of resilience, longevity, and wisdom, the Ginkgo tree’s ability to persist and survive extremely adverse conditions, including the bombing of Hiroshima, inspires me to believe in self-renewal even in the face of personal tragedy.
These images, which all feature ginkgo leaves, are part of my ongoing series of photographs dedicated to my son and all those who’ve lost a loved one. By naming each image for a departed individual, I honor them and keep their memory alive with a tangible tribute.
As part of my process, in addition to compositing lens-based photos of plants (mostly from my garden), I incorporate various alternative processes including cyanotypes, anthotypes, and lumens. After printing the images on semi-translucent vellum, I then gild the backs of the images with silver- or gold-toned metallic leaf and varnish both sides, giving the prints a metallic sheen reminiscent of sacred art.
With this memorializing project I bring together my long-time fascination with layers, abstraction, ambiguity and the natural world. Making this work has been healing for me and is meant to help heal others.”
Laurie Peek is an award-winning visual artist who’s been a photo-journalist, educator, librarian and fine artist.
With an MFA in Photography from the Visual Studies Workshop (Rochester, NY), as well as positions at the George Eastman Museum and The Arts Students League, in recent years she’s been exhibiting her images widely in the US and internationally.
She’s been a 2023 Critical Mass Top 200, Finalist in Klompching Gallery’s 2024 Fresh and twice been recognized as an International Garden Photographer of the Year, sponsored by the Royal Botanic Gardens, Kew, London.
Her work is in the collections of Fine Art Museum of Houston, Paterson Museum (NJ), Center for Photography at Woodstock (Kingston, NY), Center (Santa Fe, NM), and Visual Studies Workshop (Rochester, NY). Currently she’s using plants, mostly from her garden, to create poetic abstractions that memorialize and celebrate departed loved ones.
IMAGES FOR SALE-
“For Dawnielle” 14”x 10.5” image on 18.5” x 12.5” semi-translucent Vellum
Archival Pigment Print on Vellum, gilded on back w/Metallic Leaf
$850 Unframed
Limited edition of 5
Signed, editioned and titled on front
“For Marc” 14”x 10.5” image on 18.5” x 12.5” semi-translucent Vellum
Archival Pigment Print on Vellum, gilded on back w/Metallic Leaf
$850 Unframed
Limited edition of 5
Signed, editioned and titled on front
For Cherie 14”x 10.5” image on 18.5” x 12.5” semi-translucent Vellum
Archival Pigment Print on Vellum, gilded on back w/Metallic Leaf
$850 Unframed
Limited edition of 5
Signed, editioned and titled on front
For Hannah 14”x 10.5” image on 18.5” x 12.5” semi-translucent Vellum
Archival Pigment Print on Vellum, gilded on back w/Metallic Leaf
$850 Unframed
Limited edition of 5
Signed, editioned and titled on front
For Merika 14”x 10.5” image on 18.5” x 12.5” semi-translucent Vellum
Archival Pigment Print on Vellum, gilded on back w/Metallic Leaf
$850 Unframed
Limited edition of 5
Signed, editioned and titled on front
For Alvin 14”x 10.5” image on 18.5” x 12.5” semi-translucent Vellum
Archival Pigment Print on Vellum, gilded on back w/Metallic Leaf
$850 Unframed
Limited edition of 5
Signed, editioned and titled on front
Contact-
Laurie Peek
lapeek@gmail.com
"GINKGO! Long revered in East Asian culture as a symbol of resilience, longevity, and wisdom, the Ginkgo tree’s ability to persist and survive extremely adverse conditions, including the bombing of Hiroshima, inspires me to believe in self-renewal even in the face of personal tragedy.
These images, which all feature ginkgo leaves, are part of my ongoing series of photographs dedicated to my son and all those who’ve lost a loved one. By naming each image for a departed individual, I honor them and keep their memory alive with a tangible tribute.
As part of my process, in addition to compositing lens-based photos of plants (mostly from my garden), I incorporate various alternative processes including cyanotypes, anthotypes, and lumens. After printing the images on semi-translucent vellum, I then gild the backs of the images with silver- or gold-toned metallic leaf and varnish both sides, giving the prints a metallic sheen reminiscent of sacred art.
With this memorializing project I bring together my long-time fascination with layers, abstraction, ambiguity and the natural world. Making this work has been healing for me and is meant to help heal others.”
Laurie Peek is an award-winning visual artist who’s been a photo-journalist, educator, librarian and fine artist.
With an MFA in Photography from the Visual Studies Workshop (Rochester, NY), as well as positions at the George Eastman Museum and The Arts Students League, in recent years she’s been exhibiting her images widely in the US and internationally.
She’s been a 2023 Critical Mass Top 200, Finalist in Klompching Gallery’s 2024 Fresh and twice been recognized as an International Garden Photographer of the Year, sponsored by the Royal Botanic Gardens, Kew, London.
Her work is in the collections of Fine Art Museum of Houston, Paterson Museum (NJ), Center for Photography at Woodstock (Kingston, NY), Center (Santa Fe, NM), and Visual Studies Workshop (Rochester, NY). Currently she’s using plants, mostly from her garden, to create poetic abstractions that memorialize and celebrate departed loved ones.
IMAGES FOR SALE-
“For Dawnielle” 14”x 10.5” image on 18.5” x 12.5” semi-translucent Vellum
Archival Pigment Print on Vellum, gilded on back w/Metallic Leaf
$850 Unframed
Limited edition of 5
Signed, editioned and titled on front
“For Marc” 14”x 10.5” image on 18.5” x 12.5” semi-translucent Vellum
Archival Pigment Print on Vellum, gilded on back w/Metallic Leaf
$850 Unframed
Limited edition of 5
Signed, editioned and titled on front
For Cherie 14”x 10.5” image on 18.5” x 12.5” semi-translucent Vellum
Archival Pigment Print on Vellum, gilded on back w/Metallic Leaf
$850 Unframed
Limited edition of 5
Signed, editioned and titled on front
For Hannah 14”x 10.5” image on 18.5” x 12.5” semi-translucent Vellum
Archival Pigment Print on Vellum, gilded on back w/Metallic Leaf
$850 Unframed
Limited edition of 5
Signed, editioned and titled on front
For Merika 14”x 10.5” image on 18.5” x 12.5” semi-translucent Vellum
Archival Pigment Print on Vellum, gilded on back w/Metallic Leaf
$850 Unframed
Limited edition of 5
Signed, editioned and titled on front
For Alvin 14”x 10.5” image on 18.5” x 12.5” semi-translucent Vellum
Archival Pigment Print on Vellum, gilded on back w/Metallic Leaf
$850 Unframed
Limited edition of 5
Signed, editioned and titled on front
Contact-
Laurie Peek
lapeek@gmail.com
Laurie Peek/For Cherie
Laurie Peek/For Dawielle
Laurie Peek/For Hannah
Laurie Peek/For Marc
Prescott Moore Lassman/White Horse
HONORABLE MENTION
HONORABLE MENTION
PRESCOTT MOORE LASSMAN
"I am a lens-based artist living in Washington, D.C. working in the areas of documentary, portrait, travel, and "freestyle" photography. Using an intuitive approach, I search for images that resonate, for moments of synchronicity in everyday life.
My work focuses on those odd juxtapositions of elements that are connected not so much by logic or reason but rather by a deeper intrinsic meaning. Because this approach relies on unconscious triggers, my photographs often are richly symbolic, though their meaning is not immediately clear (at least not to me). For me, this is the essence of photography: capturing an image that resonates and then, over the course of months or years, figuring out why.
The photographs submitted here are from my "Domesticated Animals” series, which explores what happens when the myth of the idyllic domestic life begins to fracture. The photographs reveal not only the warmth and connection that define domestic life, but also the raw mechanics behind the platitudes: the myths we accept, the masks we are taught to wear, the roles we are forced to play, and the needs and desires we sublimate (and sometimes don’t) in order to maintain the veneer of domestic bliss. In other words, Domesticated Animals unmasks the domestication at the heart of domestic life.
The series began after an unexpected tragedy gave me a glimpse of my own mortality. Shortly thereafter, and for no apparent reason, I began to chafe against the warm and comfortable domestic life I had worked my whole life to create. Maybe domestic life had always chafed, but I had never noticed until then.
The series, however, is not constructed as a narrative, nor is it intended to document my own family or family life. Rather, each photograph is like a fragment from a dream, connected not by any logical consistency but rather by symbolism and meaning. If these photographs tell a story at all, it’s a story of raging and mixed emotions. It’s a story about aging and regret; about repression and authenticity; about connection and conformity; about the joys of domestic life and the very real sacrifices. It is, in short, a mid-life crisis in photographic form."
Career Highlights include: City Hall Art Collection, Washington, DC, DC Art Bank, Washington, DC, Individual Artist Fellowship, DCCAH, Washington, DC,
Best of Show, Allegany National Photography Competition and Exhibition,
2025 Billboard Show, and The Billboard Creative, Los Angeles, CA.
"I am a lens-based artist living in Washington, D.C. working in the areas of documentary, portrait, travel, and "freestyle" photography. Using an intuitive approach, I search for images that resonate, for moments of synchronicity in everyday life.
My work focuses on those odd juxtapositions of elements that are connected not so much by logic or reason but rather by a deeper intrinsic meaning. Because this approach relies on unconscious triggers, my photographs often are richly symbolic, though their meaning is not immediately clear (at least not to me). For me, this is the essence of photography: capturing an image that resonates and then, over the course of months or years, figuring out why.
The photographs submitted here are from my "Domesticated Animals” series, which explores what happens when the myth of the idyllic domestic life begins to fracture. The photographs reveal not only the warmth and connection that define domestic life, but also the raw mechanics behind the platitudes: the myths we accept, the masks we are taught to wear, the roles we are forced to play, and the needs and desires we sublimate (and sometimes don’t) in order to maintain the veneer of domestic bliss. In other words, Domesticated Animals unmasks the domestication at the heart of domestic life.
The series began after an unexpected tragedy gave me a glimpse of my own mortality. Shortly thereafter, and for no apparent reason, I began to chafe against the warm and comfortable domestic life I had worked my whole life to create. Maybe domestic life had always chafed, but I had never noticed until then.
The series, however, is not constructed as a narrative, nor is it intended to document my own family or family life. Rather, each photograph is like a fragment from a dream, connected not by any logical consistency but rather by symbolism and meaning. If these photographs tell a story at all, it’s a story of raging and mixed emotions. It’s a story about aging and regret; about repression and authenticity; about connection and conformity; about the joys of domestic life and the very real sacrifices. It is, in short, a mid-life crisis in photographic form."
Career Highlights include: City Hall Art Collection, Washington, DC, DC Art Bank, Washington, DC, Individual Artist Fellowship, DCCAH, Washington, DC,
Best of Show, Allegany National Photography Competition and Exhibition,
2025 Billboard Show, and The Billboard Creative, Los Angeles, CA.
Prescott Moore Lassman/Girl with Activity Book
Prescott Moore Lassman/Quarreling Angels
Prescott Moore Lassman/Skull Shirt
Prescott Moore Lassman/Wading Toward the Storm
Prescott Moore Lassman/Water Running Toward the Sea
www.lassmanlenswork.com
www.instagram.com/lassman_lenswork
www.instagram.com/lassman_lenswork
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