Bailey Rigby

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	<title>Bailey Rigby</title>
	<link>https://baileyrigby.com</link>
	<description>Bailey Rigby</description>
	<pubDate>Thu, 23 Oct 2025 04:20:58 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://baileyrigby.com/Home</link>

		<pubDate>Tue, 18 Apr 2023 16:44:25 +0000</pubDate>

		<dc:creator>Bailey Rigby</dc:creator>

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		<description>&#38;nbsp;Bailey Rigby


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&#38;nbsp; &#38;nbsp;

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		<title>I Was Meant to Make a Garden of This Land</title>
				
		<link>https://baileyrigby.com/I-Was-Meant-to-Make-a-Garden-of-This-Land</link>

		<pubDate>Sat, 30 Sep 2023 17:27:02 +0000</pubDate>

		<dc:creator>Bailey Rigby</dc:creator>

		<guid isPermaLink="true">https://baileyrigby.com/I-Was-Meant-to-Make-a-Garden-of-This-Land</guid>

		<description>
I Was Meant to Make a Garden of This Land 
In-progress, independent research project &#124; Salt Lake City, UT


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I Was Meant to Make a Garden of This Land aligns opposing narratives within the Church of Jesus Christ of Latter-day Saints, finding the nuances within current and historical pilgrimages of faith.&#38;nbsp;
Beginning in the summer of 2023, and now, in an ongoing effort, I have visited many landmarks in Utah (and beyond) inextricably tied to my ancestry and general LDS history. Through researching and documenting these landscapes, I hope to acknowledge the harm caused by colonizing, patriarchal Mormon settlers while also having a compassionate understanding of those who, in good conscience, crossed the plains with the sole purpose of pursuing what they believed in.

The work proposes the garden as a metaphor for religious tradition and contemplates the choice to either continue the harvest or to abandon expectation for something better fit for ourselves. In the process of photographing and writing, I have come to reflect on my own parting of ways with the LDS Church and have experienced a strong healing power in weaving the past with the present.&#38;nbsp;

︎
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	<item>
		<title>Inland Island</title>
				
		<link>https://baileyrigby.com/Inland-Island</link>

		<pubDate>Thu, 29 May 2025 04:55:59 +0000</pubDate>

		<dc:creator>Bailey Rigby</dc:creator>

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		<description>Inland Island 
Short-term, independent project &#124; Northern UT


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&#60;img width="5152" height="6440" width_o="5152" height_o="6440" data-src="https://freight.cargo.site/t/original/i/234f77ddef19b92b28bdb935591e5b0ac416aeaea32ad9d135daac3a23ee74e8/_PR_5906.jpg" data-mid="234433609" border="0"  src="https://freight.cargo.site/w/1000/i/234f77ddef19b92b28bdb935591e5b0ac416aeaea32ad9d135daac3a23ee74e8/_PR_5906.jpg" /&#62;

This short-term photo series is a meditation on home and a somewhat formal goodbye to Utah. Made in the summer of 2025.

Men have historically embarked out West for a grand expedition. The tale falls the same way each time it is told. There once was a God perched on the highest pedestal of heaven and a divine delegation given to His worldly servants. He pledged to His chosen people a promise of excellence, a covenant to fulfill the path of discovery, settlement and bringing foreigners into His fold. So, with heads raised as high and mighty as their masts, these voyagers boarded their ships and sailed from their seas of rolling hills to a land far out West, an inland island of sorts. There was a biblical beauty in the palatial mountain peaks, the kind that made it appear as if their God had finished creating His masterpiece just in time for it to be seen and interpreted as The Promised Land.
I spent a number of my younger years out West, and the notion of it all was painted with a Romantic’s touch of childhood nostalgia. The same as in a dimly-lit museum, the memories sat mounted behind gilded golden frames and depicted the quiet, yet pivotal moments of my adolescence –– riding bikes down the Lagoon trail, weaving through the cottonwood snowflakes, chalk-drawing hopscotch on the cracked sidewalk, catching clouds in the basketball hoops. Back in those days, I would jump off the top bunk because I really believed I was going to fly. 
The real world was the apocalypse. Or so it felt, moving to Green Country from The Promised Land. There were zombie people preaching on the megachurch pulpit, false prophets if I had ever even known what that meant as a kid. Worst of all were the storms. God’s wrath reigned down with the kind of lightning that warned me only seconds before the thunder came to break the news of my holy downfall. Sometimes they would turn cyclonic, and the more vigorously the forces of hot and cold air intertwined and the closer they touched down to my cul-de-sac, the further my corruption felt biblically stone-carved. What I interpreted from this place was that it was not promised, it was cursed. And thus, my imperfect piety could not be remedied until I took my own grand expedition back West.
Homecoming began as I raised my mast, head bowed and legs knelt in prayer because this journey was a covenant with my God. I emerged from the eastward canyons and there things were, the same as ever. Switchbacks and steeples like palm prints. It was the kind of comfortable and alleviating familiarity that felt absolutely flawless and prophetic. It was a reminder of why I slept with the Bible under my pillow each night ––&#38;nbsp;a mound of words that both braced and incited my worried head. 
The thing about volition is that sometimes it is illusionary. I realized this back in The Promised Land. It was partially by my own doing, partially by the voices of higher power. Those years of endless, heart-wrenching pining for home led me down this straight and narrow path –– yet, somehow, God’s wrath still found its way in to taunt me. This time it was much quieter and much less theatric, and more like a ticking timer of rumination. At first, it was made known through secret codes, the tug of a shirt sleeve, the touch of a wrist. Then it crept in during fall with a bone-chilling cold that lingered through spring. I saw it on TV through the prophet’s somber warning. It probed me through the discerning whispers of appointed men, superiors who I believed exhibited the truth because they somehow always swindled some version of it out of me. After all of those years of waiting to return home, I suppose I was finally old enough to reach the low-hanging fruit of my predetermined salvation.
I found relief in accepting that my church was sworn into truth by generations of self-proclaimed revelators, right hand placed firmly on the very book that they created. Through swearing itself into sincerity, I finally noticed this place and its people had spiraled into cultural madness –– a tangled mess of rules, regulations and loopholes. Maintaining a manicured image of pressed white shirts and ankle-length skirts. A carefully kept record of the neighbor’s morality. A swift and repetitive motion of nametags, handshakes, veils and ceremonials. A capsule of belief prescribed to and placed under the tongue of the world’s population, dismissing whether the fix would ultimately cure or kill the next person in line. 
No grand expedition chasing after or escaping from a godsent purpose will make a place your home. It will, in turn, cause internal sickness or superiority, and isolation on an island of your own making. I am still not entirely sure of what signifies the authenticity of home, but I am inclined to believe it has something to do with a recognized, practiced and complete sense of agency. So, I suppose it was never the fantastical childhood memories that kept me afloat in my time in The Promised Land. Rather, it was the choice to be in it all once again.
 
* * *

︎
</description>
		
	</item>
		
		
	<item>
		<title>Index</title>
				
		<link>https://baileyrigby.com/Index</link>

		<pubDate>Thu, 23 Oct 2025 04:20:58 +0000</pubDate>

		<dc:creator>Bailey Rigby</dc:creator>

		<guid isPermaLink="true">https://baileyrigby.com/Index</guid>

		<description>Index 

&#60;img width="1819" height="1819" width_o="1819" height_o="1819" data-src="https://freight.cargo.site/t/original/i/4cd6dc22adee3c966d7ba2aca6d99b0db60d09cbb590b2546c7b697efbc432d4/_PR_0431-copy.jpeg" data-mid="243508996" border="0"  src="https://freight.cargo.site/w/1000/i/4cd6dc22adee3c966d7ba2aca6d99b0db60d09cbb590b2546c7b697efbc432d4/_PR_0431-copy.jpeg" /&#62;
&#60;img width="2334" height="2334" width_o="2334" height_o="2334" data-src="https://freight.cargo.site/t/original/i/f7e0817e039ead459171022658479459523f72fc51770b1c8bba845ebacfe1f9/scan33.jpeg" data-mid="243508989" border="0"  src="https://freight.cargo.site/w/1000/i/f7e0817e039ead459171022658479459523f72fc51770b1c8bba845ebacfe1f9/scan33.jpeg" /&#62;
&#60;img width="2400" height="2400" width_o="2400" height_o="2400" data-src="https://freight.cargo.site/t/original/i/c5e639836302bee4cc0f3185c8290e785fc2a690a1e65c2c4f8799c9c0d01182/scan23.jpeg" data-mid="243508987" border="0"  src="https://freight.cargo.site/w/1000/i/c5e639836302bee4cc0f3185c8290e785fc2a690a1e65c2c4f8799c9c0d01182/scan23.jpeg" /&#62;
&#60;img width="6631" height="5305" width_o="6631" height_o="5305" data-src="https://freight.cargo.site/t/original/i/d780a79e437233a5bac486b32598b3357d626be84c904b9a69c0e90dcd856cd2/_PR_0417.jpg" data-mid="243508891" border="0"  src="https://freight.cargo.site/w/1000/i/d780a79e437233a5bac486b32598b3357d626be84c904b9a69c0e90dcd856cd2/_PR_0417.jpg" /&#62;
&#60;img width="2400" height="2400" width_o="2400" height_o="2400" data-src="https://freight.cargo.site/t/original/i/15ab831207c4124acc8e5bb9e714d280678f75128c3e05b7c3d5169e37b5a31a/scan20.jpeg" data-mid="243508985" border="0"  src="https://freight.cargo.site/w/1000/i/15ab831207c4124acc8e5bb9e714d280678f75128c3e05b7c3d5169e37b5a31a/scan20.jpeg" /&#62;
&#60;img width="2400" height="2400" width_o="2400" height_o="2400" data-src="https://freight.cargo.site/t/original/i/5dd6a931f56a3972e2d50fe7da63631d77f619f8069fa6e32a07a286a3e6df6b/scan21.jpeg" data-mid="243508986" border="0"  src="https://freight.cargo.site/w/1000/i/5dd6a931f56a3972e2d50fe7da63631d77f619f8069fa6e32a07a286a3e6df6b/scan21.jpeg" /&#62;
&#60;img width="5094" height="5094" width_o="5094" height_o="5094" data-src="https://freight.cargo.site/t/original/i/a6d0f0d042080ab799875fbd3646c82fa0e41cf1b74816273ba92493b59ef858/scan150.jpeg" data-mid="243508991" border="0"  src="https://freight.cargo.site/w/1000/i/a6d0f0d042080ab799875fbd3646c82fa0e41cf1b74816273ba92493b59ef858/scan150.jpeg" /&#62;
&#60;img width="2400" height="2400" width_o="2400" height_o="2400" data-src="https://freight.cargo.site/t/original/i/6c61b2a27f3f38b26c387ca8214d48a85477eded32a35d511633fa40b919fa10/scan17.jpeg" data-mid="243508984" border="0"  src="https://freight.cargo.site/w/1000/i/6c61b2a27f3f38b26c387ca8214d48a85477eded32a35d511633fa40b919fa10/scan17.jpeg" /&#62;
&#60;img width="5477" height="4382" width_o="5477" height_o="4382" data-src="https://freight.cargo.site/t/original/i/966140688d6b727da9a6cacef01a7293f6f2e8230add7a374a1993157c106331/_PR_0426.jpg" data-mid="243508893" border="0"  src="https://freight.cargo.site/w/1000/i/966140688d6b727da9a6cacef01a7293f6f2e8230add7a374a1993157c106331/_PR_0426.jpg" /&#62;
&#60;img width="5209" height="5209" width_o="5209" height_o="5209" data-src="https://freight.cargo.site/t/original/i/021928f3c4846c5f56183e871b93085e8398599b7ecc5713b168260d9c4ed93a/scan102.jpeg" data-mid="243508990" border="0"  src="https://freight.cargo.site/w/1000/i/021928f3c4846c5f56183e871b93085e8398599b7ecc5713b168260d9c4ed93a/scan102.jpeg" /&#62;
&#60;img width="2400" height="2400" width_o="2400" height_o="2400" data-src="https://freight.cargo.site/t/original/i/cab42455c15cc7482ac0cd6038bccf539b64ec1cdd90e1be50f93dcf4f335e29/scan25.jpeg" data-mid="243508988" border="0"  src="https://freight.cargo.site/w/1000/i/cab42455c15cc7482ac0cd6038bccf539b64ec1cdd90e1be50f93dcf4f335e29/scan25.jpeg" /&#62;
&#60;img width="6830" height="5464" width_o="6830" height_o="5464" data-src="https://freight.cargo.site/t/original/i/43b732a83a0c94d6c370b1fe09c7742b516b0793a5e1a0df7fa31c7ac34b4255/_PR_0414.jpg" data-mid="243508889" border="0"  src="https://freight.cargo.site/w/1000/i/43b732a83a0c94d6c370b1fe09c7742b516b0793a5e1a0df7fa31c7ac34b4255/_PR_0414.jpg" /&#62;

December 2025. It seems I now find myself in the American South, and with that, there lives within me a burning, a wondering and an excitement to explore and make sense of this place. Sometimes I fail to remember I was born not four hours west of Baton Rouge. One quick I-10 excursion and I’d soon be back in the quiet, beige outskirts of Houston. Texas was a brief, six-month stint on a small string of&#38;nbsp; moves, a&#38;nbsp; familial venture of which I recall not a thing. But, of course, I’m urged to feel there is something fated about being down South again, and to experience it all with my newfound ability to record (and remember) the places I call home.&#38;nbsp;
My first fall in Louisiana was all about placing a pin on the map. And I did so by driving up and down the winding Mississippi river road connecting Baton Rouge to New Orleans. One such place I began to stop and linger for a while was in the small, pious settlement of St. Gabriel, LA. Its history has loosely meandered since the late 1700s, in fact, township was granted only just in 2001. But not even the levees, of which prevent the river from overflowing and shifting, could stifle the stories that sing the people to sleep each night.&#38;nbsp;
There was something so evocative about St. Gabriel. One remarkable thing being its roots in southern Louisiana’s Catholic belt, another being its naming after God’s archangel and divine messenger. And, above all, the towering rings of barbed wire that I could not help but associate with a crown of thorns. The barbed wire led me on a visual path of discovery throughout the town, from the abandoned Louisiana Correctional Institute for Women (I learned had been evacuated after a biblical sort of flood in 2016), to the site of the Bayou Paul Colored School (championed by the ruthless Mrs. Amanda Grace, who taught the children they shall “know thy tree by the fruit it bears”), the Hansen’s Disease Center (that made medical history in leprosy treatment) and, as it seems St. Gabriel is most known for, the historic Catholic church (designed and constructed by exiled acadians). I turned my lens away from the obvious and photographed only discreet remnants of the past – divots in the ground, overgrown ivy, rotting planks of wood – visuals that only reminded me of Myra Sklarew’s poem, reading “…our human possessions and all they’ve left us, this whole city sings their songs, say their names, in this city they are our monuments.”&#38;nbsp;My response to the photographs and research was to make a book. A monument, of sorts. Composed of sixteen fine arts prints and select writings on vellum, the single-editioned monograph is a visual representation of a wandering eye, one particularly inclined to observe a scape imbued with religious iconographies.&#38;nbsp;

*&#38;nbsp; &#38;nbsp;*&#38;nbsp; &#38;nbsp;*


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&#60;img width="2400" height="2999" width_o="2400" height_o="2999" data-src="https://freight.cargo.site/t/original/i/ddbe440dfdae49681f4cefbcd8ce9c66b1f41ef3af467490e4d379f8046dc7bc/11.jpg" data-mid="239769205" border="0"  src="https://freight.cargo.site/w/1000/i/ddbe440dfdae49681f4cefbcd8ce9c66b1f41ef3af467490e4d379f8046dc7bc/11.jpg" /&#62;
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October 2025. On assignment for the Eddie Adams Workshop, documenting the Diehl family homestead 
of Callicoon, New York.The Eddie Adams Workshop is a merit-based, four-day photojournalism seminar in upstate New York. Every October, students from all over the world are invited to participate in a weekend of assignments, lectures and portfolio reviews.

*&#38;nbsp; &#38;nbsp;*&#38;nbsp; &#38;nbsp;*

︎
</description>
		
	</item>
		
		
	<item>
		<title>The Study of Last Things</title>
				
		<link>https://baileyrigby.com/The-Study-of-Last-Things</link>

		<pubDate>Tue, 18 Apr 2023 16:44:26 +0000</pubDate>

		<dc:creator>Bailey Rigby</dc:creator>

		<guid isPermaLink="true">https://baileyrigby.com/The-Study-of-Last-Things</guid>

		<description>The Study of Last Things 
Utah State University BFA Thesis Project &#124; Logan, UT


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And it shall come to pass, because of the wickedness of the world, that I will take vengeance upon the wicked, for they will not repent… for behold, my blood shall not cleanse them if they hear me not…&#38;nbsp; And they that believe not [go] unto eternal damnation; for they cannot be redeemed from their spiritual fall, because they repent not. 
– Doctrine &#38;amp; Covenants 29
I was raised a faithful member of the Church of Jesus Christ of Latter-day Saints, an organization that believes we are in the last dispensation of the fulness of times. Members teach that, in 1820, the Lord called modern-day prophet Joseph Smith to restore the One True Church and begin the gathering of his servants for Christ's imminent return. LDS youth and young adults are entrusted as the key guarantors of spreading this truth and congregating non-believers as the world prophetically begins to decay.
As often occurs when a young bird jumps in flight from its nest, or perhaps as the mother’s wing opens up to the bewildering winds of the internet, it did not take long before I was swallowed into the scape of reality and drawn into a world-shattering investigation of the Church’s historical and doctrinal legitimacy. According to LDS scripture, my apostasy positioned me as one who “the Lord God will send forth flies upon,” whose “tongues shall be stayed that they shall not utter against me; and their flesh shall fall from off their bones, and their eyes from their sockets” (D&#38;amp;C 29). 

By conjuring eschatological imagery, somber landscapes and religious allegory, The Study of Last Things narrates an ongoing pilgrimage from a Church that I once knew as the only true thing on the face of the earth, and a deconstruction of a tunnel-visioned world of religious catastrophe.&#38;nbsp;
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&#38;nbsp;

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	<item>
		<title>Artist + Research Statement</title>
				
		<link>https://baileyrigby.com/Artist-Research-Statement</link>

		<pubDate>Thu, 19 Dec 2024 22:29:24 +0000</pubDate>

		<dc:creator>Bailey Rigby</dc:creator>

		<guid isPermaLink="true">https://baileyrigby.com/Artist-Research-Statement</guid>

		<description>&#60;img width="3130" height="2075" width_o="3130" height_o="2075" data-src="https://freight.cargo.site/t/original/i/cade7ff86c83cd8a772f0a94ba172b43fe252d4a868437ce88a5b4ec7bb0f7e8/000057420021.jpg" data-mid="223604663" border="0"  src="https://freight.cargo.site/w/1000/i/cade7ff86c83cd8a772f0a94ba172b43fe252d4a868437ce88a5b4ec7bb0f7e8/000057420021.jpg" /&#62;
From a young age I was taught to believe a journal is a “continuing record of meaningful
experiences that affect our lives,” and that it was a commandment from God Himself to
document my feelings as a way of deciphering His influence.1 Growing up in a
high-demand religion so focused on archiving our divine existence encouraged me to
find joy in recording life’s happenings, and photography consequently became a part of
this undertaking.

						
In developing a conscious awareness of (and deconstructing) my religious lineage, however, my
camera became a much more significant tool, one I could use to contextualize such complex histories through a more contemporary perspective. Thus, my work is
conceptually drawn to religious and historical narratives and is visually manifested
through both digital and analog post-documentary aesthetics.

						
An interest in literature has also led me to find the sequencing of photographs is parallel to
how a writer might sequence their words and, as a result, both efforts have become
essential factors in my practice.&#38;nbsp;

						
My work originates from a fundamental aspect of photographic theory, to which critic
Susan Sontag describes “[Photographs] depict an individual temperament, discovering
itself through the camera’s cropping of reality.”2&#38;nbsp;As such, I find it to be a great privilege and responsibility to share my perspective through the
lens of my camera, coincidentally fulfilling the journalistic integrity I was inherently
commanded to wield.
_____1 “Journals.” www.churchofjesuschrist.org, www.churchofjesuschrist.org/study/manual/family-home-evening-resource-book/lesson-ideas/journals
2 Sontag, Susan. On Photography. London, Allen Lane, 1977.


Contact
baileyprigby@gmail.com
@baileyrigbyphoto
Baton Rouge, LA︎
</description>
		
	</item>
		
		
	<item>
		<title>About</title>
				
		<link>https://baileyrigby.com/About</link>

		<pubDate>Tue, 18 Apr 2023 17:06:38 +0000</pubDate>

		<dc:creator>Bailey Rigby</dc:creator>

		<guid isPermaLink="true">https://baileyrigby.com/About</guid>

		<description>&#60;img width="3288" height="2373" width_o="3288" height_o="2373" data-src="https://freight.cargo.site/t/original/i/19034063cda559c96c34a61e2b32574ccb1647d558c9b61a063ea5c4d01289e4/IMG_7760.jpg" data-mid="175809880" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/19034063cda559c96c34a61e2b32574ccb1647d558c9b61a063ea5c4d01289e4/IMG_7760.jpg" /&#62;Bailey Rigby  is a fine art photographer currently based in Baton Rouge, LA. Rigby received her BFA in photography from Utah State University and is now an MFA candidate in photography at Louisiana State University. Her post-documentary practice embraces storytelling grounded in historical and literary research, with her visual and written investigations synchronously exploring themes of familial history, tradition and religious identity. 


Download CV

Contact
baileyprigby@gmail.com
+1 (918) 500-2200
@baileyrigbyphoto
Baton Rouge, LA

&#60;img width="1600" height="2000" width_o="1600" height_o="2000" data-src="https://freight.cargo.site/t/original/i/dcb5819b8daebdd67bd5b2d3b799220a04e9cc98012111ae5df6ecc98acc4566/Bailey-Rigby_Web.jpg" data-mid="245753060" border="0" data-scale="42.5" src="https://freight.cargo.site/w/1000/i/dcb5819b8daebdd67bd5b2d3b799220a04e9cc98012111ae5df6ecc98acc4566/Bailey-Rigby_Web.jpg" /&#62;
︎
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