For ages, hide-and-seek has been a popular game among children. In fact, some artists feel that people never outgrow the fascination for the game. So they introduce it in their art - but in a more subtle, sophisticated way. They've found that this game creates instant involvement.

Bev Doolittle, who is represented by Repartee Gallery, calls her technique "camouflage art." In her paintings, birds and animals blend so beautifully with the landscape that it takes a while to find the "lost" images.Local artist Ed Rosenberger has developed a method of printing bits and pieces of Polaroid negatives onto paper. The viewer must study this jigsaw puzzle to discover how it fits together.

Maureen O'Hara Ure creates some of her art with abstract images. Are they birds? butterflies? flowers? Looking at her work is like gazing at clouds and spotting dragons, elephants and other animals.

Artists also use colors and symbols to convey meanings. Correct interpretation depends on aesthetic maturity and fertile imagination.

- Several of these hide-and-seek techniques have been effectively integrated into Ure's paintings and sculptures now on display at the Pierpont Gallery.

Her large painting "In the Garden" is an excellent example of ambiguous forms that suggest imagery. The viewer can interpret the shapes as he does a Rorschach test - any way he sees them.

Symbolism fills many of her paintings and sculptures. Seen frequently are broken limbs, fire, axes, fireplaces and hearts.

What do these images mean? The artist says they represent love and marriage, family life, environment, drama, grace, truth and beauty - to name a few.

But let's set aside the interpretation and focus more on the visual impact of the show.

"Broken Limbs" and "Fame & Fortune" are filled with a marvelous palette of colors; "Home Fires" and "Up in the Night" prove a fascinating interplay of complexity and simplicity.

Ure says that this show comes at the end of a very rich year. "I was privileged to spend part of last summer at Sundance as a participant in the Playwrights Lab," she said. She worked with writers, actors and directors; and, during the school year, she was a visiting assistant professor in the art department at the University of Utah.

"This cycle of work is dedicated to my students - in particular, my winter quarter senior seminar group."

- The Courtyard Gallery is currently spotlighting "Viewpoints," a photographic exhibit by Edward Rosenberger, who is experimenting with the Polaroid transfer process.

Rosenberger says, "I have been intrigued with the use of multiple images rather than a single image. There are so many things that make up a portrait of somebody - hands, gestures and so on."

These prints combine sharp and soft elements with the unique color palette of Polaroid. The end product provides viewers with opportunities to experience many interpretations.

In a telephone conversation with Rosenberger, he explained the steps he takes in creating his one-of-a-kind artwork.

After snapping a picture with his Polaroid camera, he doesn't run the negative through the rollers to transfer to the receiver paper. Instead, he takes the negative, places it on a large sheet of paper and presses the back with his fingers, a cloth or a roller. He might leave the negative on the paper for up to five minutes, depending on the paper, the moisture and the effect he is trying to create. When he pulls off the negative, portions of the photograph transfer, while others do not.

He repeats the process several times until he has a collage of prints on the paper.

Rosenberger pointed out that this process is more than photography. It's a combination of photography, printmaking and painting.

He added that this process is a welcome change from his commercial photography, where definite rules must be followed and images kept clean and sharp.

This is Rosenberger's first one-man show. He has been a photographer for 11 years. He owns his own photographic studio, Rosenberger Productions, located at 255 W. 700 South in Salt Lake City.

- Both the Pierpont and Courtyard galleries are owned by Denis and Bonnie Phillips. And, of course, they also own the Phillips Gallery. Right now, a group show, "Lively Contrast," is in full swing.

Some of the gallery regulars are not interested in playing hide-and-seek. Robert Fowler, Pat Eddington and Silvia Davis exhibit representational work.

But as artists move from realism to abstraction, the hide-and-seek approach comes into play.

Many details are purposely omitted in stylized works by Arthur Adelmann, Edwin Oberbeck, David Pendell, Thalo Porter and Doug Snow.

But when the pendulum swings all the way to the left, a number of proponents of non-objective art shine: Allen Bishop, Ron Clayton, Richard Johnston, Don Olsen, Bonnie Phillips and John Wood. And Denis Phillips stops along the way to paint in varied styles.

All of the above exhibits will continue through June 29.

"Lively Contrast" is on display at the Phillips Gallery, 444 E. 200 South (364-8284). Gallery hours are 10 a.m. to 6 p.m. Tuesday through Friday and 10 a.m. to 4 p.m. on Saturday.

Works by Maureen O'Hara Ure can be seen at the Pierpont Gallery, 159 Pierpont Avenue. (363-4141). Gallery hours are noon to 6 p.m. Tuesday through Thursday and noon to 8 p.m. on Friday and Saturday.

Photographs by Ed Rosenberger is featured at the Courtyard Gallery, 153 Pierpont Avenue (363-5151). Hours are the same as Pierpont's.