EDITOR’S NOTE: For preview coverage of the 50th Utah Arts Festival, which runs June 18-21, The Utah Review is presenting individual or group profiles of artists, performers, entertainers and some newcomers to the event. The curtain raiser highlights the history of the Festival which is marking its golden anniversary. BANDALOOP, among the most prominent pioneers of vertical dance, returns to UAF for the fourth time, having appeared in 2005. 2013 and 2018. Once again, the Oakland-based arts company will perform on the 240-foot-high curving glass façade of the City Library, as part of a June tour in four cities featuring a work with ecological roots that will resonate with collective concerns about the Great Salt Lake’s ecological crisis, as the dance artists perform FLOCK while integrating company repertoire pieces including Downstream and its new creation, life || lines, all with an original score featuring music by four composers. Salt Lake Acting Company will appear for the second time at the festival, offering a sample from its upcoming summer show, The Gaslight Zone. Make-and-take opportunities will be among the most extensive in history, with Make Salt Lake as well as Secondhand Salamander which is bringing back the classic Mad Hatter project, and, of course, the Kids’ Art Yard. Urban Arts is offering its largest live graffiti mural installation featuring eight artists in four Festival campus locations, while a row of several other artists will be demonstrating their creative process in real time. Holdman Studios, based in Lehi with an international portfolio of commissions to create stained glass in religious and civic buildings, including a recent update to the Utah State Capitol rotunda, is offering an unprecedented series of free workshops for participants to create their own stained glass artwork. The City Library auditorium will be the home to the 23rd edition of the international Fear No Film program, with 84 short films on a slate of 15 programs, the second largest in the event’s history. Of course, dance, who wears the empress jewels in performing arts, will be represented by Repertory Dance Theatre, Ririe-Woodbury Dance Company, Sock Opera Dance, and, of course, the ever-popular 1520 Arts, which will feature Trash Panda Drum Group and competitions featuring Sol Tribe as part of the Salt Open Styles Battle along with the Red Bull Dance Your Style battle and a collaboration with Utah Valley University’s ESPRIT in Rep Your Set Choreo Competition, with choreographers who specialize variously in hip hop, contemporary, salsa, reggaeton, afro, popping. Headliners this year include Digable Planets, well known among jazz musicians as well as hip hop artists (June 18); Yola, six-time Grammy-nominated artist, songwriter, and actor (June 19); Austin-based musician Alejandro Rose-Garcia, better known as Shakey Graves, who has been cited for creating new musical experiences tailored to each fan, ranging from Bandcamp-exclusive releases to hosting interactive scavenger hunts while on tour (June 20) and Rubblebucket, a band well known for its hybrid genre blend of psychedelia and electronic dance music (June 21). For tickets and more information, see the Utah Arts Festival website.
NIKKI ENGEL
Based in Utah, Nikki Engel is a fiber artist behind Knot of 8. Her practice centers on freehand, patternless construction, allowing form to emerge through repetition without duplication. Each sculptural piece is unique, which she says carries a distinct sense of presence, as if it has its own interior life. The work exists as collectible art objects, not toys, which are grounded in material exploration and form.
TUR: How have you used art media forms in helping to create an holistic body of artistic work that searches for a more complete expression of your own innermost and most powerful states of emotion, inspiration, contemplation, and self-identity?
NE: My primary medium is freehand crochet, which means I create without patterns and allow each piece to develop organically. Every creature is entirely unique—no two are ever exactly alike. Through fiber art, I explore imagination, mythology, nature, and the unseen connections that shape our lives. My creatures often emerge from a place of curiosity and intuition rather than a predetermined design. Creating them allows me to express parts of myself that are difficult to communicate through words alone—wonder, resilience, playfulness, and a deep appreciation for the stories and symbolism woven into the world around us. Each piece becomes its own individual character, carrying a distinct personality and story that unfolds through the creative process.
TUR: What is your training as an artist? Who do you consider your most significant influences and inspirations? Do these influences shift as you progress both in your work and life?
NE: I am self-taught as a fiber artist. My approach has been shaped through years of experimentation, observation, and a willingness to follow creative ideas wherever they lead. Among my most significant artistic influences are Brian Froud and Tim Burton, both of whom create worlds filled with unique characters, imagination, and a sense of wonder. I am also inspired by folklore, mythology, nature, and traditional craft. Their influence can be seen in the whimsical, sometimes mischievous personalities that emerge in my creatures. As I continue to grow both as an artist and as a person, my influences naturally evolve, but what remains constant is my fascination with creating pieces that invite curiosity, storytelling, and a connection to the imagination.
TUR: Do you work full-time exclusively as an artist? Or, how do you augment your work as an artist?
NE: At present, I balance my artistic practice with a career in aviation. While aviation and fiber art may seem like very different worlds, both require discipline, problem-solving, and attention to detail. Maintaining both paths has taught me how to be intentional with my time and creative energy. My long-term goal is to continue growing Knot of 8 and expanding the reach of my work as an artist.
TUR: Do you find it easy or difficult to start new work? And, typically, how do you prepare yourself to handle both the creative and physical demands of creating your art?
NE: Starting a new piece is often the most exciting part of the process. Because I work freehand, there is always an element of discovery involved. Rather than deciding exactly what I am going to create, I often begin with a vision or impression of a creature. It feels less like inventing something and more like uncovering something that wants to be brought into the world. I may start with a simple shape, feature, or feeling and then allow the piece to reveal its own personality as I work. The creative process is a balance between intuition and craftsmanship, with each creature taking its own unexpected path. The physical demands of crochet can be significant, especially when preparing for large events, so I try to balance focused work sessions with rest and pacing. Creatively, I stay inspired by spending time in nature with my dogs, reading mythology and folklore, and remaining open to unexpected ideas.
TUR: With regard to participating in the Utah Arts Festival, please share your feelings about being a part of this enterprise? Have you been in other festivals and do you plan to explore other festival venues?
NE: The Utah Arts Festival holds a special place for me. It brings together an incredible variety of artists and provides an opportunity to connect directly with people who appreciate handmade work. One of the most rewarding aspects is watching visitors discover a creature that speaks to them personally and seeing the joy that connection creates. I have participated in other events, but the Utah Arts Festival is one of the highlights of my year. I look forward to continuing to explore additional festival opportunities while growing my presence within Utah’s vibrant arts community.