About the work.
Child of God?
Milestones within The Church of Jesus Christ of Latter-Day Saints (commonly known as Mormons) are deeply emphasized by doctrine and culture. Joseph Smith, the prophet and founder of the faith revealed in his own translation of the Book of Genesis that children would reach an age of accountability once they were eight years old, it would be then that they could be baptized if they were worthy. As a child I was taught from an early age that I should desire to be baptized, that I must do all I can to be worthy for that special moment when I would make a covenant with my Heavenly Father and join His church. Little did I comprehend what the notion of worth would truly mean as I grew into a young woman— or the burden it would come to carry in my life. Blissfully unaware of the events to come later in life, I joined eight generations of faithful members of the Church when my father baptized and confirmed me a member by the authority and power of the Holy Melchizedek Priesthood — the power of God.
As a child, baptism was the complete focus of my leaders and parents, however, as a young woman a new milestone was placed: receiving a patriarchal blessing. Prophets and leaders counseled me and other youth in the Faith to live worthy to receive this blessing as a patriarchal blessing would serve as a sacred roadmap, promising blessings not only in this life but thereafter. I was taught that this blessing would be unique to me and offer “meaning and insight” into my life that would come directly from my Heavenly Father through a Patriarch, who would serve as the vessel for God to give this blessing (Bennett). I had an intense desire to receive this divine reward from God; I yearned to know the path He had designed for me should I be a worthy daughter of Him. However, unlike my baptism where I was eager and had a full sense of worth and readiness, as a teenager I began to struggle with the belief that I was unworthy of such a profound and personal gift. I did not feel pure enough to receive personal revelation from God. I watched as those I grew up with receive theirs and testified of the blessings and spirit they felt, yet the idea of my own patriarchal blessing began to fill me with dread rather than hope.
Anxiety surrounding the blessing grew slowly but steadily, fueled by constant self-doubt for a spiritual perfectionism I hoped to achieve. I began to view the patriarchal blessing as my own fruit of knowledge; I felt as if God had placed me in a paradox of choice where this blessing, like the fruit, would offer “the possibility of some unspecified future that will include ‘knowledge of good and evil” (Kholeif 113). The thoughts plagued me for years. What if I wasn’t ready? What if I was disappointed? I watched as each one of my peers received their own blessing, testifying to how wonderful such a gift was. They seemed so at ease with such a heavy burden; however, I could not move forward, so I delayed receiving mine for years, despite counsel that I should obtain one. I wrestled with the feeling that I had not earned the right to God’s divine direction. Though I struggled, I came to a point where I knew I needed to partake of the fruit of knowledge if I wanted to follow God’s plan for me.
On November 11th, 2018, I went to the home of my patriarch, an older man whom I had known my entire life. My parents joined me as witnesses to the sacred blessing that would be conducted. After a moment of prayer, the blessing began with the laying on of hands, an act where the placing of one’s hands on a person’s head allows a male priesthood holder to confer “ordinations [and] blessings” (Hands, Laying on Of). Through this gesture, the power of God — the priesthood — was used to deliver divine revelation meant specifically for me. What followed was nothing short of profound. In that moment, all the years of fear, anxiety, and self-doubt vanished. Not only was the life God had planned for me beautiful — it was perfect. Never had I felt such divine closeness, not even my baptism could compare as I experienced an overwhelming spiritual connection. Finally, I felt completely known by my Heavenly Father and truly knew that he saw me, understood me, and loved me. He knew that during that time I needed reassurance I was on the right path, and that through Him I could achieve my dreams of success and love. I left that day with a newfound religious zeal and determination to live worthy of the life God had designed for me. This faith, so absolute in its intensity, would crumble come one fated evening when my worldview would shatter.
One question posed by a close church friend would forever change the trajectory of my life: “Have you read the CES Letter?” This friend confided in me a deep distress and confusion over what this document contained, turning to me with the hope that I could help make sense of the contents that shook his faith. Though I had never heard of this letter, I was fully confident in the truthfulness of The Gospel. I assured my friend that I would look over this document and come back to him with the truth. That night I read the CES Letter, fully expecting to dismiss the work as ridiculous anti-church rhetoric that my parents and leaders had warned me about. What I read cracked something open inside of me. The floodgates burst, and what poured out was utter horror, betrayal, and a deep sense that I had been deceived my entire life. In that moment I was forced by the CES Letter to confront historical and doctrinal inconsistencies that I had never known. These inconsistencies completely changed the foundations of what made my faith. Despite the evidence this document brought forth, I was desperate to hold on to the testimony I had built, after all, God had a beautiful life planned for me in His Church, I could not toss aside my faith and the faith of my ancestors based on one individuals work. For months after that fateful day, I buried myself in official church records, determined to prove the truth I had always known to be right. Nothing could sway me back to the path of The Church — the veil had been lifted. I could no longer bare a testimony that The Church of Jesus Christ of Latter-Day Saints was the one true church, or that Joseph Smith was a prophet of God in these latter days. The faith of my ancestors, some of the first members of the church, became more painful and twisted with each new piece of information I uncovered. My faith was completely lost, and I grieved for the person I could no longer be.
As Sisters in Zion
Melancholy became my new faith as I descended into grief and paranoia. I lost my sense of creativity as depression took hold of my mind and body. All thoughts of wonder and whimsy I once used to power my art became incompatible with my reality. For years I believed my artistic voice had been silenced by grief. However, when I took a leap of faith and I joined the University of Texas at Dallas, I unlocked a new path to create as a way of cathartics and ritual—photographic performance.
The Church of Jesus Christ of Latter-Day Saints is a small community, with most members located in Utah and Idaho. In Texas I was often one of the only, if not the only, member of The Church in my schools; by living in Texas, I have “a position of engagement, participation, and privileged knowledge” of the LDS community that would not be found in a city where being a member is common place (Solomon-Godeau 6). Coming from a small community, I became captivated by the work of Nan Goldin. Her work would document the LGBTQ+ communities that she was part of; these images came from a place of privileged knowledge, capturing moments of a smaller community that the greater society had little insight into. Goldin’s deeply personal images, such as Misty, Taboo, and Jimmy Paulette Dressing, offered viewers “intimate proximity to her subjects,” as the three subjects captured in a state of undress, allowing the audience a privileged view as to how drag queens get ready for a night out (Solomon-Godeau 6). By creating a closeness to her subjects in her images Goldin created an insider perspective of the communities she documented. Goldin’s work both moved and motivated me to do the same for my own community. Though I was no longer a member of The Church of Jesus Christ of Latter-Day Saints, I now found myself part of the community of those who have left the faith—ex-Mormons.
Photography and performance became a way to reclaim my artistic voice and tell my story as I floated in a space between belief and disaffiliation from The Church. And yet, was this truly just my story? Or were there others who felt similar anxieties from the Faith. My own mother left The Church after I did and expressed many similar fears and mourning. I knew that we were not alone, that others within the ex-Mormon community were going through their own deconstruction process.
I felt a desire to document and share the stories of those who, even after stepping away from the Faith, felt the tight grip of the doctrines and principles engrained in us. From this desire, Path to Eternity was born. I envisioned the work as an opportunity to connect with ex-Mormon community and to give a voice to the women whose lives had been shaped—and constrained—by The Church. I reached out to former members to discuss what they experienced, how they felt, and where they were on their deconstruction journey. What struck me most was a common thread I found amongst them: disappointment in their patriarchal blessings. These supposed revelations from God had felt impersonal, painfully vague, and sparse—why did God have so little to say to them in the ways of guidance? In one of my communications, one young woman told me how her blessing emphasized maintaining her physical figure (Anderson). She was devastated that in order to remain worthy of God and his promised blessings, she had to remain desirable, and her body became tied to her spiritual value. Another woman noted how God directed her to be a “homemaker and a gracious hostess” as well as emphasizing her developments of the skills for cooking and sewing to ensure her children and others are happy, that she would be blessed to be content with these goals God had for her (Anderson). My own mother’s blessing stated she came from “good parents,” and yet her father was an adulterer who abandoned his family (Anderson). How could God call him good and tell my mother to honor this man? These accounts stood in sharp contrast to my own experience of receiving the patriarchal blessing. Unlike all the women I talked to, the patriarch who gave me my blessing knew me personally; my blessing was overly detailed to my life, far from vague promises. Yet at the time of the blessing, I was blinded to the fact that the patriarch’s familiarity with me would be why God’s words appeared deeply personal.
Despite the experiences of the women I talked to being different from my own, a painful truth united us: these blessings were delivered exclusively by male priesthood holders. The words they spoke that supposedly came from The Divine profoundly impacted our sense of worth. Divinity was not part of these blessings, only men following a general outline for what they should say to each of us.
True to the faith
In 1842, Joseph Smith—the prophet and founder of The Church of Jesus Christ of Latter-Day Saints—would introduce the doctrine of plural marriages to the faith. For me, the reality of this practice became one of the central catalysts in the unraveling of my faith; learning that several of Joseph Smith’s wives were young girls, some as young as fourteen, was something I could not reconcile. I could not align the god I knew as loving and just with the salacious god Smith preached. That same year, a very different type of revelation occurred—the discovery of cyanotype, a photographic process that merged art and science to capture our world (MacGee et al.). The coincidence of these two historical moments became symbolically significant in my own work, marking a divergence between inherited belief and reclaimed expression.
When choosing a medium for Path to Eternity, cyanotype stood as the clear and necessary choice. The printing process for cyanotype has a reliance on sunlight, reliance that evoked a sense of connection to the celestial and divine. This process of printing became more than just a technique; I discovered a new ritual. Sunlight, once synoicous with The Divine, became my partner in my own world of creation. I made the deliberate decision to only use natural sunlight to expose each print. I refused to use artificial UV light to create the work, by using sunlight each piece demanded my presence, not just as an artist, but as an individual grounded in there here and now. As sunlight would beat down on the developing fabrics, so too would it beat down on me; the work and I developed in tandem, the pieces in the physical, myself in the spiritual.
Not only was I moved by the exposure process cyanotype utilized, but I became fascinated by the possibilities of toning the prints. In the Mormon faith, members are prohibited from the consumption of coffee, tea, or wine. I grew up viewing these drinks as temptations set by Satan, toxins that if consumed would lead the faithful astray. When someone would leave The Church, whispers would follow, murmurings that they were weak and had left in order to indulge in these temptations. I faithfully abided by the commandant to abstain, also viewing those who consumed as weak—until I left. Now, as I worked on the cyanotype portraits of women who have left the faith I found reason in the toning process. Each print steeped in tea, coffee, and wine—liquids viewed as sinful—stained the women who have been deemed corrupted by the world in the eyes of the faithful. Despite these substances being viewed as immoral to those within the faith, each liquid transformed the prints, creating beauty from defilement.
During a Mormon woman’s life there are several spiritual key moments where she is expected to veil her face during sacred temple ceremonies. This practice of concealment, as noted by journalist Peggy Fletcher Stack, was found deeply disturbing by many women. By covering their face, “the thing that most marks them as individuals” was hidden (Stack). Even in death, Mormon women are buried with their faces veiled. As a young woman experiencing deep spiritual turmoil, discovering this practice of veiling struck me with a new wave of grief and anger. I was angry that women had to hide their identities while the men stand unveiled, their individuality present, their faces unashamed, and their being visible. Why are we as women made invisible, our worth and identity filtered through the words of men?
In every patriarchal blessing that was shared with me for Path to Eternity, I had noticed a recurring theme, these women were all instructed to support and uplift the men in their lives, both in this life and the next. In Path to Eternity, I found an opportunity to visualize the stifling nature of the patriarchal culture. A veil was nailed across each woman’s face, put in place by a patriarch. The man is placing his will over the women through the blessing, stifling their identify, asking these women to remain hidden behind the actions of man, even in eternity.
Path to Eternity stands as a testimony to the complexity of spiritual grief. Through the creation of the work, I found a power in art that the doctrine I once loved did not have. Path to Eternity is not a reflection on the pain of losing faith—it was an act of reclamation. I have begun to rebuild a sense of self outside of the constraints that the Church once set for me. Though the beautiful future I was once promised in my patriarchal blessing is no longer the path for me, I have found something equally beautiful. I have found my voice, I have found that there is healing in creation; through creation, I have found my path to eternity.
Works Cited
Anderson, Anais Nicolette. “Interview of Former Members.” 10 Mar. 2024.
Bennett, Randall K. “Your Patriarchal Blessing-Inspired Direction from Heavenly Father.” The Church of Jesus Christ of Latter-Day Saints, 1 Apr. 2023, www.churchofjesuschrist.org/study/general-conference/2023/04/25bennett?lang=eng.
“Hands, Laying on Of.” The Church of Jesus Christ of Latter-Day Saints, www.churchofjesuschrist.org/study/scriptures/gs/hands-laying-on-of?lang=eng. Accessed 10 Jan. 2025.
Kholeif, Omar. Art in the Age of Anxiety. Sharjah Art Foundation, 2020.
MacGee, Spike, et al. “Alternativephotography.” AlternativePhotography.Com, 15 Jan. 2025, www.alternativephotography.com/cyanotype-history-john-herschels-invention/.
Runnells, Jeremy T. CES Letter: My Search for Answers to My Mormon Doubts. CES Letter Foundation, 2017.
Solomon-Godeau, Abigail. “Inside/Outside.” Public Information: Desire, Disaster, Document. Gary Garrels, et. al. San Francisco: San
Francisco Museum of Modern Art, 1994.
Stack, Peggy Fletcher. “On Heels of Temple Changes, Faithful Latter-Day Saint Women No Longer Need to Be Veiled before Burial.” The Salt Lake Tribune, 29 Jan. 2019, www.sltrib.com/religion/2019/01/29/heels-temple-changes/.