It was artist Giovanni Lorenzo Bernini (1598-1680) who said, "What we have is given by God and to teach it to others is to return it to Him."
Regardless of one's beliefs, or how one defines God, there is no better way to characterize the mentoring concept behind the Partners Program at Art Access Gallery.
Through Aug. 31, the gallery will present "The Seventh Annual Partners Exhibition" — a show that reaffirms one's faith in art and the artists who give of themselves to help others develop their own talent.
It is also one devilishly good show.
"The Partners Program seeks to identify adult artists with a variety of special needs," says Ruth Lubbers, director of Art Access. "These aspiring artists are then matched with professional artists on a one-on-one basis."
The mentors in this year's exhibit are Bob Kleinschmidt, Carla Jimison, Lou Ann Heller and V. Kim Martinez.
Their respective apprentices are Dave Ahlin, Marcee Blackerby, Karen Huggins and John Trujillo.
Ahlin and Kleinschmidt
Ahlin's interest in art goes back to his high school days, where he won a competition and went to work on director David Lynch's film "Dune."
Kleinschmidt introduced his apprentice to printmaking — linoleum block printing and monotype — for which Ahlin demonstrates a natural flair. His "Figure 19" (linocut) is rich in "Munchian" pathos and gutsy line. His monotypes are dark and hauntingly beautiful.
As might be expected, Kleinschmidt's pieces in the show are excellent. His "Fragments," 1 through 4, demonstrate how completely unique the medium of monotype can be. His prints are fluid, intelligent, intriguing and technically flawless.
Blackerby and Jimison
Blackerby has received recognition for her creative writing, but the visual arts are new to her. However, one of her colorful works that incorporates zany ties was good enough to be accepted into this year's Spring Salon.
With Jimison, Blackerby explored ideas, shared techniques and discussed experiences. The effort heightened her ability to arrange the collected paraphernalia she imports into her singular works. Her "Downside of Being a Goddess" (mixed media), with its mock petroglyphs and horned and vivisected mannequin, is a 3D shrine certain to cause discussion.
Jimison's exhibition pieces illustrate the artist's preoccupation with home, family and connectedness. Her "Eyes of the Ancestors" (mixed media) is visually playful and a literal genealogical message that is a powerhouse of technique and style.
Huggins and Heller
An art teacher once told Huggins that she had no talent — that she should not draw. She listened, but only for awhile; Huggins has been drawing since 1997.
Heller, an artist at the Deseret News, challenged Huggins to expand her drawing skills, employing pastels, charcoal and drawing larger images. The result is work both tedious and tender; some drawings are reminiscent of Max Ernst. Her best piece is "Ease My Mind" (graphite on paper).
The pastel works of Heller are sinuous glimpses of nature. They whisper one moment and shout the next. Her "Artichoke" (pastel on paper), rises upward with a flowing grace that is made stronger by its impeccable design.
Trujillo and Martinez
Trujillo has been interested in drawing since elementary school, but has had little training. However, his lack of sophistication with a pencil makes for some interesting pieces.
"Self Portrait" (graphite on paper) is his best, and it is a surrealistic frontal assault. At first glance, the eyes of his portrait are reminiscent of those paintings of cute kids with enormous, teary eyes, painted on black velvet. But whereas those paintings are kitsch, Trujillo's eyes burrow into the viewer's soul. When coupled with his mustachioed face and muscular neck, the viewer hears the commanding words, "Look at me!"
Martinez brought experience and stamina to the project, helping Trujillo with line, shading, color and perspective. Indeed, Trujillo's first oil painting — because of Martinez's insistent support — is remarkably fresh.
Martinez's paintings in the exhibit are gutsy manifestos for social change. They are also well-executed. Her "Corrections IV" (oil on canvas) hammers home her message of despair at the conditions of some correctional facilities by giving viewers a look at a tortured, isolated human figure.
The Partners Exhibition is one of Art Access's favorite shows; it is the gallery's raison d'etre. This is why Lubbers is so passionate about its continuation. "I get overly involved with the Partners project. It just thrills me to see what comes in."
And she is very sensitive about how the program is used.
"Artists are treated with dignity," she says. "We don't put labels on anyone — just try to provide access to art, to adults who traditionally have not enjoyed the access."
In short, Lubbers and the gallery help artists give back a little of what they've received.
E-mail: gag@desnews.com