The Art of Trevor Southey
Born in Rhodesia (now Zimbabwe), Africa in 1940 to parents of colonialist Dutch descent, Trevor Jack Thomas Southey was a celebrated Mormon painter, print maker, sculptor and educator. His heritage
can be traced to European colonists who settled in Cape Town, South Africa in the seventeenth-century. Southey’s work celebrated the human form and sought to transform humanity by challenging viewers to rediscover their inner soul.
Trevor Southey’s early interest in art developed during periods of rheumatic fever that often confined him to bed with only pencils, paper, and art books from the school library. His formal art education began with studies at the Brighton College of Art in Sussex, England. A year later, Southey studied at the Natel Technical College in Durban, South Africa where he met and was baptized by Mormon missionaries. In the early 1960s, he served as a Latter Day Saints missionary with the organization’s South Africa Aid program.
Retaining his African and European origins, Southey emigrated to the United States in 1965 and studied at the Brigham Young University in Provo, Utah where he earned both his Bachelor and Master Degrees. Southey taught art education at the university
and became a founding member in 1966 of the highly significant Mormon Art and Belief Movement, an artist organization that was active until 1976. During his teaching career, Southey worked to establish a Mormon art form through his use of Latter Day Saint theology.
Despite his homosexuality, Trevor Southey married psychotherapist Elaine Fish, the daughter of Jesse Fish and Lucile Cottam, in 1967 after a brief courtship of several months. In an attempt to conform to the teachings of the Church of the Latter Day Saints, the couple settled down in the foothills of Utah’s Wasatch Mountains, built a homestead in Alpine and raised four children. Southey along with artists Neil Hadlock, Dennis Smith and Gary Ernest Smith founded a small artist community in Alpine during the 1970s.
Southey resigned from Brigham Young University’s faculty in 1977 and began to pursue a personal artistic career. Coming to terms with his homosexuality, Southey divorced Elaine Fish in 1982 after fifteen years of marriage and found himself excommunicated on the outskirts of Mormon society. Thirty 
years later, Southey’s reputation as an artist prompted an invitation to once again join the Church of the Latter Day Saints.
As a figurative Realist, Trevor Southey used the depiction of the physical body to portray the soul, a method employed frequently by painters and sculptors of the Renaissance period. He expressed human spirituality through commonplace figures of an ethereal nature in scenes that combined realism and personally related allegories. Southey’s work, focused on the Rocky Mountain area, examined environmental issues that effected the land particularly those concerns that dealt with urban planning. In 1985, he relocated his Salt Lake City studio to San Francisco where Southey’s artwork achieved both critical and popular success. His four children from his annulled marriage later joined him in San Francisco.
During the 1990s, Southey became an accomplished stained glass designer, sculptor and print maker. His many intaglio etchings exhibited the same elegance and delicate draftsmanship of his paintings. Southey’s “Full Bloom” intaglio series began as a pencil drawing of a woman he knew from church. In its final form, this
successful series of etchings became a universal symbol of resurrection and the cycle of life. Fully established now as an artist of note, Southey received commissions for both paintings and sculptures throughout the United States and the United Kingdom .
Trevor Southey did a series of illustrations for several books of poetry by writer, playwright and lecturer Carol Lynn Pearson. These include the 1976 “The Growing Season” and the 1987 “A Widening View”, both published by Bookcraft in Salt Lake City, as well as the 1967 “Beginnings” published by Trilogy Arts in Provo, Utah. Southey, along with Brigham Young University Professors Clyde W. Robinson and Donald R. Marshall, participated in a 1979 panel discussion with authors Diane Leigh and Brett Parkinson on the nature of art in the Church of the Latter Day Saints. This dialogue was later published in the Fall 1979 edition of “Century II”, the Brigham Young University journal for its College of Humanities.
In 2013, after a decade-long battle with prostate cancer and a recent diagnosis with Parkinson’s disease, Southey returned to Salt Lake City, Utah to be cared for by friends and relatives. His four children also relocated to be by his side. Trevor Southey died, at the age of seventy-five after a year at the Salt Lake City hospice, on the twentieth of October in 2015. His funeral service was held at the Dumke Auditorium of the
Utah Museum of Fine Arts. Southey’s work can be found in many private collections and both public and corporate institutions.
“ It made itself most known in my work. Even that work long preserved within the seeming sanctity of a subject like the traditional family would reflect that shunned part of my being. Works done innocently, once they were complete still held the whole truth within them. Perhaps no painting revealed that more clearly than Prodigal. Often while I refused to acknowledge this, others could read it quite clearly. Prodigal was conceived from Jesus’ parable of reconciliation and familial love. I feared the sensuality of this work, and indeed, it was gently declined by the clients. At its conception and execution, that sensuality was naive and even innocent, as was the deeper implications of content. Other works follow as a celebration of this new personal “home,’ this integration, the comfort of finally being one within oneself and one within a new society. Some of these images are almost embarrassingly overt, though that was by no means my intention.”
Trevor Southey, Gay, Excerpt from Warnock Fine Arts: Trevor Southey
Notes: Trevor Southey attracted controversy in 1981 with his “Flight Aspiration”, a painting of a flying nude man and woman that was part of a mural commissioned for the Salt Lake City International Airport. The mural was removed after protests by the American Family Association, a national anti-pornography group led locally by Romola Joy Beech, a well known Latter Day Saints conservative activist. After five years in storage at the Utah Museum of Fine Arts, “Flight Aspiration” was placed into the museum’s permanent collection in 1986.
Duane Jennings, a long-time friend of Southey and author of the two-volume series “Stumbling Blocks and Stepping-Stones”, wrote a short article on the artist’s life for the online site “Affirmation: LBGTQ Mormons Families and Friends”: https://affirmation.org/trevor-southey-1940-2015/
The Affirmation site also has an article by Seba Martinez that discusses Southey’s personal experience in marriage, excommunication from the Church of the Latter Day Saints, and break-up of family bonds due to a loved one being homosexual: https://affirmation.org/pbs-documentary-mormons/
Selected for the LDS Film Festival, Nathan Florence’s 2022 film, “Bright Spark: The Reconciliation of Trevor Southey”, is a narrative documentary on Southey’s life and work. This film contains film clips of Southey with his work. “Bright Spark” can be found in its entirety on the PBS/MPT site: https://www.pbs.org/video/bright-spark-the-reconciliation-of-trevor-southey-ld2x8l/
The Trevor Southey website is located at: http://www.trevorsouthey.com
The Dabakis-Justesen Fine Art site has a presentation of Trevor Southey’s large-scale painting series “Warriors” for viewing and purchase: http://www.trevorsouthey.com/warriors/index.html
Second Insert Image; Trevor Southey, “Yuri”, 2000, “Warrior” Series, Oil on Canvas, 213.4 x 152.4 cm, Dabakis-Justesen Fine Art
Third Insert Image: Trevor Southey, “Transition”, 1980, Edition of 77, Etching, 20.3 x 15.2 cm, Private Collection
Fourth Insert Image: Trevor Southey, “Russ”, 1990, Prismacolor Pencil Drawing on Silkscreen, 76.2 x 55.9 cm, Private Collection