"I want people to see the beauty and whimsy of life, not its ugliness." — Rodney Smith

If you've never experienced a Rodney Smith photograph, check out the closing shot of the movie, "Lemony Snicket's A Series of Unfortunate Events," with Mr. Poe's black car driving off into the distance on a mist-covered road lined with tall, symmetrically aligned trees.

It is surreal and visually stunning — just like a Smith photograph.

Through Jan. 16, visitors to the Museum of Art at Brigham Young University will have the rare opportunity of witnessing the artist's work first-hand in "Adam's Dream: The Photographs of Rodney Smith."

The exhibit consists of 69 black-and-white gelatin silver prints drawn from all phases of Smith's career. The show's title is derived from a passage in an 1817 letter written by the poet John Keats: "The imagination may be compared to Adam's Dream. He awoke and found it truth."

Interpreting Adam as "everyman," Smith delves into the human experience of imagination and dreams, and their connection to the immediacy of the physical world.

"A camera's eye," Smith told the Deseret Morning News, "can see the world with more acuity or resolve than your own eye. It can penetrate deeper, it can see sharper, it can give you an insight, a depth that your own eye can't have."

Smith came from a very visual family, so it is not surprising he would pick something visual for his career. He became serious about becoming a photographer after visiting the permanent photography collection at the Museum of Modern Art. He saw works by Edward Steichen (1879-1973), W. Eugene Smith (1918-78), Dorothea Lange (1895-1965), Henri Cartier-Bresson (1908-2004), and many others.

"I remember looking at the work and feeling inside that I could do this," said Smith. "I think the feeling meant that I could put my feelings onto paper, which is more difficult than it seems."

Smith's photographs are the antithesis of much of contemporary photography, which relishes ugliness and shock. Smith seeks beauty.

"My inclination has always been that way," he said. "I've always been interested in things I consider beautiful."

Unfortunately "beautiful" is a derogatory word in today's art world. "If some curator referred to a work as 'beautiful,' it would be a subtle way of saying, 'I think it's not important.' They confuse beauty with sentimentality," Smith said.