In the catalog of her 2006 London show at The Mayor Gallery, art critic/writer Marco Livingstone stated that Haworth's art, her materials and methods were very much a part of her gender: "Haworth was very aware of this when she chose to make sculpture that was pliable, subject to change and in that sense a direct affront to the heroic and male-dominated sculptural traditions of cast bronze and carved stone."

And when discussing her recent work, Livingstone said, "Haworth's visual wit remains as malleable and subtle as her sculptural language, her gentle ruminations on life and human foibles as pertinent and as affecting as they were 40 years ago."

· · · · ·

Another recent art happening that had a dramatic impact on Haworth was the 337 project.

"It was for us all a profound experience," she said, "and it was not found in Los Angeles, New York, London or Paris, but right here. It was wonderful."

Across the street from the old Oquirrh School, at 337 S. 400 East, was a derelict, gray stucco two-story building scheduled for demolition. Before this occurred, however, the owner turned over the interior of the building, a 20,000-square-foot "canvas," to local contemporary artists to do with as seemed appropriate. The result was painting, installation, performance and happening art, and Haworth and daughter Liberty Blake were a part of it.

"I think every artist involved in that — and there were 150 of them — has been changed by the experience," Haworth said. "What will come out of it for Salt Lake is anybody's guess."

This power in the community, this democratization of art, still brings a glint to Haworth's eyes. She becomes young again, and her animation is limitless as she discusses communal-art projects and her own art ideas for the future, ideas that are the result of decades of hard work, sharp memory and a keen eye.

Her animation for and dedication to art has also led Haworth to teach: She has instructed more than 1,000 students. She has written and published art books for children and is a firm believer that anyone can draw. "I know everyone can draw because I've worked with people. With children, all you have to do is open the door and they walk through it."

Haworth is also adamant that all art forms should be returned to our schools. "You know, children come to school dancing, singing, drawing and painting, and we have them leave school doing none of those things. That is a tragedy. It's such a beautiful part of life and an expression of our individualism. All of us can learn math; that doesn't express our individualism."

· · · · ·

Today, Haworth is very much at home in her studio/home in the mountains of Sundance, and her art, while still employing her trademark techniques, has found a new language and form.

"Every day I look out and see those paths leading into the mountains that I know are potentially life-threatening if you're not smart," she said. "They're dangerous and some are untried; they are the path less traveled. And to me that is food — the color and the light here have been food for what I need to do. The work I've done has been born out of Utah. There's no question I could not have done this work in England."

The reintroduction into American culture has been essential to Haworth's work and, considering her talent and vigor, it would not be too difficult to imagine her, at some future date, designing and crafting yet another album cover for some future musical prodigies.

---

E-mail: gag@desnews.com