Leah Owenby makes use of the enormous number of insulin syringes that delimit her life as a diabetic. Penney Burton analyzes her struggle with chronic depression by incorporating words expressing her feelings of worthlessness into her pedestal sculpture and wall installation. Kathy Abernathy Meliopoulos illustrates physiology more literally, depicting the more unfamiliar condition of funnel chest in embroidered cartoon stories of the humiliations suffered by those afflicted with the condition. Rea: Oscillate, 2015, nylonĭeafness is the theme of works by Rea (one name only in this exhibition), which replicate the bones of the inner ear in 3D-printed sculptures (actually large bracelets!), and of Ingrid Knox’s painting. Rich uses thread and Free Motion machine embroidery to produce cascades of 3,500 ears combined with a sound piece murmuring the complaints persons with normal hearing address to the hearing impaired.Ī few other artists make use of readily interpretable symbolism. Julie Sims’ kinetic sculpture replicates the sense of intense social discomfort by glowing confidently when left to its own devices, but changing into a subdued and muddy color when approached by a viewer. This is, in its own way, a perfect analogy of the challenges these artists meet and overcome in the course of daily living: Their experiences are not readily understood except by sympathetic others willing to accept explanations. The difficulty from which the exhibition suffers is that so much of the symbolism is opaque until the subject matter is identified in explanatory signage. Invisible:visAble, at Abernathy Arts Center through November 25, is a visually striking exhibition about invisible disabilities that inadvertently illustrates its own premise.Ĭurator Leisa Rich intends for the show to provoke conversation about the extent to which people with “invisible” disabilities meet with incomprehension and insult to a degree that would never be tolerated in the case of visible disabilities. Sims: Detaxis, 2015, mixed-media and electronics.
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