By Morgan Annable
A border is a line that separates two things. Most borders in the world, physical or otherwise, are human constructs. The new exhibit in the VU Gallery, called “Beyond Borders,” seeks to reach outside of those boxes of national and cultural isolation and “remind viewers and participants that art has the power to transcend all boundaries,” as the exhibit description states.
Upon entrance to the gallery, visitors are greeted by the sight of white tendrils of fiber cascading from the ceiling in the middle of the room. This centerpiece by Renee Cheesman, entitled “Purification of Guilt,” aesthetically represents a waterfall caught in a moment in time, but upon closer inspection the piece yields additional treasures such as buttons, pebbles and paper scrolls. Those familiar with the famous six-word story commonly attributed to Ernest Hemingway should pay particular attention to the details that hang within the strings.
Don’t be distracted by the spectacle of Cheesman’s work; the art on the walls is worth your time as well. Jessica Bloom’s archival pigment prints, located just to the right of the entrance, incorporate beautiful swirls of natural colors (primarily greens, blues and browns) that are evocative of bird’s-eye view photographs of a coastline. A plaque on the wall describes each of the three prints as “portraits,” adding an air of mystique to the works, which do not include any literal representations of humans.
Rebecca Giordano’s works are equally thought-provoking and detailed. One of Giordano’s pieces, entitled “96 Allergens,” takes on both visual poetry and anatomy; it is filled with small details that keep the viewer searching for more. The other, entitled “Community,” features several sets of hands. Some of the hands look like they might be communicating in sign language. One pair could be playing the piano. Each pair is separate from the others but nearby, prompting questions about the relationships between one set of hands and the next.
Very different from the other works in the exhibit is the pair of drawings by Kameron Peck. These whimsical, comic book-esque scenes are really one in the same. On the right is a pencil and ink version, on the left, the same image with digitally-added color.
Natalie Milsap’s “Glitch” is a visual synthesis of physical media and the digital age. This acrylic painting portrays a pixelated scene with bold reds, greens and blues.
“Knot #1” and “Knot #2” by Eleanor Ortland share similarities with Botticelli’s renderings of Dante’s “Inferno.” The ink drawings show intertwined humanoid creatures. Some wear animal masks, others wear hoods, and their faces show a range of complicated emotions. The pieces seem to depict the simultaneous crudeness and tenderness of humanity.
These pieces and more await visitors to the VU Gallery. Stop by Monday through Friday between the hours of 11 a.m. and 5 p.m. On March 9 the gallery will host a reception from 6 to 8 p.m., at which point the top artists (chosen by a panel) will be announced. The exhibit closes on March 10.