iStock-159018589 (1)

Visualizing Heavenly Mother

The “Certain Women” exhibit in Salt Lake reveals how Latter-day Saint women perceive the divine, including the unique doctrine of Heavenly Mother.

The “Certain Women” art exhibit, sponsored by the non-profit Zion Arts Society and located at Anthony’s Antiques in Salt Lake City, is a stunning show. Over a hundred works are featured, all by Latter-day Saint women seeking to impart to the viewer a vision of the female gaze as it contemplates Latter-day Saint teachings about our Heavenly Parents—a father in heaven, and a mother.

Each work is accompanied by a statement from the artist explaining the origin and meaning of the piece. The belief in a Mother in Heaven is special to The Church of Jesus Christ of Latter-day Saints among the Christianities of the world. While some Christian faiths view Mary, the mother of Jesus, as a semi-divine being, Latter-day Saints teach both reverence for Mary as the mother of Christ and that our Heavenly Father is not alone single man, but instead is eternally married to a divine woman, a goddess.

Eve, then, was made in the divine image of a Mother in Heaven, and the destiny of Eve and all of her daughters is to follow the same path of wisdom from female life experiences toward a divine destiny made possible through Jesus Christ’ atonement and gospel.

And yet, beyond a long list of Church pronouncements, there are fewer revealed teachings regarding our Mother in Heaven. These artists are reaching out with their own female sensibilities to honor their Heavenly Parents through their artistic craft. A daughter’s view of her Mother cannot help but come from a very special perspective. There is an identification and a sense of recognition that permits a deeper understanding. And the media in the show are diverse—ceramics, rock carving, fabric art, furniture, paintings, photography, and more—representing the idea that each daughter approaches her mother in a unique way.

The belief in a Mother in Heaven is special to Latter-day Saints.

For those who cannot make it to the show, many (though not all) of the works can be seen on the Gallery tab of the exhibit’s website. As I walked through the show, reading each and every artist’s thoughts while taking in their vision, I was incredibly moved. I felt on the one hand, that I was seeing “incarnate” thoughts that were old friends of mine, and on the other, that I was also “seeing” for the very first time things that had been in plain sight all my life. Indeed, one of the largest works in the show is one by Laura Erekson entitled “Hidden in Plain Sight,” which depicts Mother’s arms outstretched, but in a form where you have to look carefully to see them, and then you cannot ever un-see them.

Have you ever wondered what the famous Sistine Chapel painting of fingers touching would have looked like from the female gaze? It is here, by Shelley Detton, in her piece “In Her Image.” Have you ever imagined how near Heavenly Mother was as Mary mothered Jesus? It is here, by Jolynn Forman, in a work entitled, “A Mother’s Blessing Upon One Who Will Raise Her Son.” Are you convinced She is actively involved in our lives, though we do not see Her (Emily Carruth Fuller, “Heavenly Mother Watching Over Her Children)? Do you feel we have not fully understood why there were two trees and two persons in the Garden of Eden? Let the visions of Heather Graham (“The Great Plan of Salvation”) and Nancy Andruk Olson (“Every Which Way”) offer their artistic expressions.

There are many pieces I would wish to tell you about, but two are worth singling out. The first is the majestic round painting by Rose Datoc Dall, entitled “The Veil Over the Earth is Beginning to Burst.” In her one-of-a-kind style, Dall shows us our Heavenly Mother and Heavenly Father, regal and loving, looking down through a diaphanous veil, which is parting to reveal them fully to Their children. Dall’s precision has them looking directly down at the viewer who is looking up at them, and the effect is electric. The Two are there, the two yearn for us to know Them.

Another piece that struck me right in the heart was a mosaic-like piece by Rebecca Klundt entitled “Hannah’s Gift.” We all know the story of barren Hannah, who promised her first-born son to the Lord, and who had to then give the boy away to strangers when he was between the ages of 3 and 5. What an immense sacrifice. And yet the scriptures briefly note that she visited her son in the temple each year and brought a new little coat for him each time. Depicted is one of those little coats, which her hands must have made with both intense love and intense yearning, missing her boy so much, and yet offering him without complaint. That one tiny scripture is given its rightful, glorious due by the artist, and we see what we have never seen before.

The name of the show comes from Luke 8:2, which speaks of how “certain” women followed the Lord in His preachings along with the twelve apostles. Surely these artists of the “Certain Women” show are just such disciples. The show is open daily until 13 November. My recommendation is that if you live within a six-hour driving radius of downtown Salt Lake, go see the show.  If that is difficult or impossible,  once again, check out the images online here

About the author

Valerie M. Hudson

Valerie M. Hudson is a University Distinguished Professor at The Bush School of Government and Public Service at Texas A&M University. The views expressed here are the author’s alone, and do not represent the views of these organizations.
On Key

You Might Also Like

Sean Astin & Ke Huy Quan Reunite, But “Love Hurts” Doesn’t Deliver

My son asked me what “Love Hurts” was about. I told him it was about how we can’t just move on from our past. “Oh,” he looked concerned, “That’s a bad movie.” Unlike my son concluded, “Love Hurts” isn’t a bad movie, but it’s not a Christian one. The theme repeated over and over is that we cannot move on from the past until we conquer it. Our main character desperately works for redemption, but the film keeps telling him he can’t have it. His aw-shucks charm in “Everything Everywhere All at Once,” combined with the nostalgia for his 80s career has combined to make Ke Huy Quan Hollywood’s “it” man of the moment. And “Love Hurts” is the star vehicle to determine if he can top the marquee of a nationwide opening.  It’s a bit of a mixed bag. The film is set over a Valentine’s Day weekend. Quan, plays Marvin Gable the regional realtor of the year. His upbeat attitude endears him to his clients and coworkers alike. Marvin used to be the enforcer for the local mob run by his brother. His brother ordered him to take out Rose, his unrequited crush, for stealing. But Marvin let her live and started a new life. Rose has decided to come back, delivering Valentine’s to the major players, dragging Marvin back into the life he tried to leave behind. The film, which runs a brisk 85 minutes, is mostly a series of choreographed fight scenes interspersed with just enough exposition to explain the plot and three love stories. So it’s worth mentioning that the fight choreography is very focused on creating tableaus showing off the imagination of the designer. And this does work to create some eye-popping visuals.  But I’m not sure if the trade-off to get those moments was worth it. To get to the visual moments it wants to show off the fights vacillate wildly between grounded brutal realism and physics so implausible it would make the Avengers blush, with no real explanation or meaning between the two. The pacing of the fights was often awkward and halting. And I never felt any stakes in the scenes because I never knew how much risk my protagonists were in.  The film uses a series of intermittent voice-overs from both Marvin and Rose to explain their attraction to one another. But the chemistry between the two never takes off. And while the film explains why Rose would be attracted to Marvin’s kindness and power, we never figure out why Marvin was willing to throw his entire life away twice at an outside chance with a woman who isn’t that interested in him.  The two grunts in the film played by André Eriksen and Marshawn Lynch, spend the time between their fights figuring out how to write a text to repair one of their marriages. The most amusing romance is between Raven, who breaks into Marvin’s office to fight him, and Ashley, the real estate assistant who finds his unconscious body and falls in love with him while reading his poetry in his notebook before he wakes up.  The movie is surprisingly funny. It leans into the cliches of the Asian mob film, and then juxtaposes it next to a bunch of odd things: suburban model homes, an all-American black belt, a poet, a pull-over sweater. It’s mostly just the one joke, but it’s enough for the film’s brisk run. My favorite part of the film was Sean Astin. Astin plays Marvin’s boss, and older brother figure who gave him the job when he escaped the mob. Astin and Quan famously shared the screen in “Goonies.” During the scene early in the film when Astin gives Quan the real estate award, you could feel the dialogue transcend the characters. It felt like Astin was so proud of the success of his old friend Quan, and this was his moment to tell him.  Quan, for his part, does everything right but doesn’t take the material to another level.  If you love fight choreography, there will certainly be some interesting things to look at here. And if you want a classic action romp with a few laughs and a Valentine’s twist this might be the film for you. But for most people, I don’t think it all comes together. It’s too gory without meaning. And while the movie seems to think it has a happy ending, I can’t imagine that most of the people watching will agree. It’s got R-rated content with no compensating uplift to make it worth the experience. Two out of five stars. “Love Hurts” opens nationwide on February 7, 2025.

Challenging the Stories We Tell Ourselves

With great precision, a surgeon can miraculously repair a part of our body that is throbbing in pain. Could the same thing sometimes be needed for aching stories we carry around that simply aren’t true?

Subscribe To Our Weekly Newsletter

Stay up to date on the intersection of faith in the public square.

You have Successfully Subscribed!

Pin It on Pinterest

Share This