Misapprehended - Fall 2023 - Visual Arts
Visual Culture: REPRESENT! Series MISAPPREHENDED Juried Exhibition October 10 - November 3, 2023 JUROR Enrique Fernández Cervantes Visual Arts Coordinator Curator of the Bath House Cultural Center in Dallas, Texas
Visual Culture: REPRESENT! Series
MISAPPREHENDED
Juried Exhibition
October 10 - November 3, 2023
JUROR
Enrique Fernández Cervantes
Visual Arts Coordinator
Curator of the Bath House Cultural Center in Dallas, Texas
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Juror: Enrique Fernández Cervantes<br />
<strong>Visual</strong> Culture: REPRESENT! Series<br />
MISAPPREHENDED<br />
Juried Exhibition<br />
October 10 - November 3, <strong>2023</strong><br />
JUROR<br />
Enrique Fernández Cervantes<br />
<strong>Visual</strong> <strong>Arts</strong> Coordinator<br />
Curator of the Bath House Cultural Center in Dallas, Texas<br />
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<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
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Juror: Enrique Fernández Cervantes<br />
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<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
<strong>Visual</strong> Culture: REPRESENT! Series<br />
Brought to you by Texas Woman’s University’s <strong>Visual</strong> Art Department, the BA in<br />
Art (Art History & <strong>Visual</strong> Culture), and the MA in Art ( Art History & <strong>Visual</strong> Culture)<br />
Program<br />
Texas Woman’s University’s <strong>Visual</strong> Art Department is excited to announce the <strong>2023</strong><br />
<strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong>. This open call for all media Texas<br />
artists compliments the scholarship and learning opportunities of our BA in Art (Art<br />
History & <strong>Visual</strong> Culture) and MA in Art (Art History & <strong>Visual</strong> Culture).<br />
Department Statement<br />
This series’ mission puts into practice the B.A in Art (Art History & <strong>Visual</strong> Culture)<br />
and MA in Art (Concentration in Art History & <strong>Visual</strong> Culture) program’s and the<br />
<strong>Visual</strong> <strong>Arts</strong> department’s commitment to interdisciplinarity, diversity, inclusion, and<br />
social justice advocacy. In emphasizing the need to REPRESENT, the series reflects<br />
the program’s enthusiasm for the role of visual art in activism and its ability to be<br />
a platform for underrepresented voices. In our student-centered department we<br />
are committed to engaging with the community and fostering transformational<br />
dialogues through visual art.<br />
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Juror: Enrique Fernández Cervantes<br />
TWU <strong>Visual</strong> <strong>Arts</strong> presents<br />
<strong>Visual</strong> Culture: REPRESENT! Series<br />
MISAPPREHENDED<br />
Juried Exhibition<br />
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<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
MISAPPREHENDED<br />
Theme: <strong>Misapprehended</strong><br />
Although dialogue is often presented as a potential remedy<br />
for our conflicting viewpoints and as a key to heal the divisions<br />
of our society, the unfortunate reality is that engaging in a<br />
discussion is not always the perfect solution to get a clear idea<br />
of what people are attempting to reveal to the world. Imperfect<br />
dialogue can lead to misinterpretations, confrontation, and<br />
inability to understand the perspectives of one another. One fact<br />
about communication is that it can be flawed and misconceived,<br />
regardless of how much effort, honesty, and vehemence go into<br />
expressing a personal truth.<br />
To complicate matters further, people are sometimes fragmented<br />
into groups that are not inclined to fully comprehend the<br />
worldview and experiences of those who, to them, appear to be<br />
different. Despite the eagerness of many to explain their outlook<br />
on a variety of issues, their conversations can still be ineffective<br />
and can generate misapprehended ideas and misconstrued<br />
assumptions. This failure of communication is caused, primarily,<br />
by personal biases, lack of knowledge, aversion, fear, mistrust, or<br />
misinformation.<br />
This exhibition will explore the notion that, many times,<br />
people do not see and understand the point of view of others<br />
completely and truthfully. The art in the show will investigate<br />
ways in which discourse and communication can be unsuccessful<br />
despite of the genuine efforts of the interlocutors to share<br />
personal views and experiences clearly and emphatically.<br />
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Juror: Enrique Fernández Cervantes<br />
Juror<br />
The exhibition will be juried by Enrique Fernández Cervantes,<br />
the <strong>Visual</strong> <strong>Arts</strong> Coordinator / Curator of the Bath House<br />
Cultural Center. Mr. Fernández has experience as a visual<br />
artist, exhibition curator and graphic designer. His paintings,<br />
photographs and mixed media artwork have been exhibited<br />
in galleries and museums since the mid-1990s. Mr. Fernández<br />
has held the position of <strong>Visual</strong> <strong>Arts</strong> Coordinator and Curator of<br />
Exhibitions at the Bath House Cultural Center and has curated<br />
exhibitions for other facilities of the City of Dallas Office of <strong>Arts</strong><br />
and Culture (formerly known as the Office of Cultural Affairs)<br />
since 1999.<br />
Series Statement<br />
<strong>Visual</strong> Culture opens up the opportunity to explore work that<br />
moves within and beyond the traditional boundaries of art history<br />
to construct a broader sense of how imagery communicates<br />
sociocultural ideas. This series draws on the inclusivity of visual<br />
culture to engage with the concept of representation within<br />
social justice contexts.<br />
https://twu.edu/visual-arts/galleries/exhibitions-and-programming/<br />
represent-misapprehended/<br />
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<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
SELECTED ARTISTS<br />
Alexandra Barnett,<br />
Kimberly Bradshaw Meadows,<br />
Dwayne Carter, Zoë Couvillion,<br />
Drew Daleo, Steve Danner,<br />
Monica Daucourt, The Artist Dub,<br />
Elias Ghosn, Alexandra Green,<br />
Erica Guajardo, Sam Ivie,<br />
Karen Jacobi, kame, Brock Kingsley,<br />
Braulio Lazon-Conde, Linda Lentz,<br />
Ivette Levy, Jackie Maclelland,<br />
Romulo Martinez, Roberta Masciarelli,<br />
Tesa Morin, Michael Mulvey,<br />
Andriy Nemchenko, Mikey Peattie,<br />
Glenys Quick, Anastacia Sadeh,<br />
Shawn Saumell, Sharon Shero,<br />
Jane Cornish Smith, Izzy Sneed,<br />
Jae-Eun Suh, Narong Tintamusik,<br />
Marilyn Waligore, Gordon Young,<br />
Sharon Zigrossi<br />
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Juror: Enrique Fernández Cervantes<br />
TWU <strong>Visual</strong> <strong>Arts</strong> presents<br />
<strong>Visual</strong> Culture: REPRESENT! Series<br />
MISAPPREHENDED<br />
Juried Exhibition<br />
October 10 - November 3, <strong>2023</strong><br />
JUROR<br />
Enrique Fernández Cervantes<br />
<strong>Visual</strong> <strong>Arts</strong> Coordinator<br />
Curator of the Bath House Cultural Center in Dallas, Texas<br />
Texas Woman’s University<br />
Division of <strong>Visual</strong> <strong>Arts</strong>, Fine <strong>Arts</strong> Building<br />
East | West Galleries<br />
302 Pioneer Circle<br />
Denton, TX 76209<br />
twu.edu/visual-arts<br />
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<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
ALEXANDRA BARNETT<br />
AS IT IS/AS IT WAS, 2022<br />
Archival Print on Aluminum, 41” x 62 “<br />
My works centralizes on what it is to be a survivor of sexual<br />
assault and the difficulty of building trust in a new romantic<br />
partnership. I use blurred or overlaid imagery to symbolize mixed<br />
emotions and the dichotomy of craving intimacy with someone<br />
while also feeling scared or triggered by it. I feel my work<br />
relates to the theme because when I would attempt to explain<br />
my headspace to those who couldn’t relate, it would lead to<br />
misunderstandings of my situation. I began to create these series<br />
with the intent to no longer “say” how I felt, but rather “show.”<br />
Not only did this allow me to have more candid conversations,<br />
but these images allowed me to articulate themes and emotions<br />
that were too complex for words alone.<br />
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Juror: Enrique Fernández Cervantes<br />
KIMBERLY BRADSHAW MEADOWS<br />
Bomb Shelter, 2021<br />
Acrylic on Canvas, 16” x 20” x 2”<br />
This piece relates to the theme of the show in terms of how the<br />
main character has responded to the outside world. Each have<br />
formed their own means of escape or bubble of protection<br />
in response to the circumstances of the chaos around them.<br />
Despite living in peace with nature, peace with others that may<br />
have been excluded from community, escape is attempted, but<br />
most likely not successful...It is difficult to escape or protect one’s<br />
self and those we care for from all of the outrageous actions of<br />
those that do not see or feel empathy for others.<br />
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<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
DWAYNE CARTER<br />
A Pit of Artists, <strong>2023</strong><br />
Digital Print on Canvas, 44” x 70”<br />
My work often focuses on the consequences of the irrational<br />
decisions we make both collectively and individually. The<br />
imagery in my digital prints relates to Zine /photo novella<br />
projects in which I create worlds parallel to our own. In these<br />
zines, I have explored themes such as Living in a False Universe,<br />
Irrational City, Disputed Ideals and Extreme Discontent. Often<br />
our irrational side leads us to override the logic and wisdom that<br />
comes from our experiences. This can lead to bad results.<br />
Perhaps we are flawed irrational creatures and simply accept that<br />
greed, peer pressure and even love can blind us from sensing<br />
the truth. Or, could it be that inspiration and emotion lead us<br />
to find truths in places where logic cannot always go. A Pit of<br />
Artists, Frisco <strong>Arts</strong> Colony and Parade of Tragedy all show the<br />
dark results of our irrationality. Can our reaction to these dark<br />
theatrical images lead us to a cathartic experience similar to the<br />
release we feel when leaving a scary horror movie. Perhaps our<br />
misunderstanding of the images can lead us to something new.<br />
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Juror: Enrique Fernández Cervantes<br />
ZOË COUVILLION<br />
Settled, <strong>2023</strong><br />
Stone Lithography, 12” x 9”<br />
During the beginning of this year, my life was in complete chaos.<br />
I ended a long-term relationship, was in a car accident, had to<br />
move because my lease was ending in Ohio, and couldn’t renew<br />
the contract for my then-job. When friends would ask how I was<br />
handling things, I would describe the days as being inside a<br />
snow-globe: with every flake being an important element of my<br />
life. I pictured myself sitting in the knick-knack and watching as<br />
everything I couldn’t control flurried around me. I imagined clinging<br />
desperately to the furniture inside—so as not to be swept away.<br />
I knew the “snow” would eventually settle, but I wondered who<br />
in my life would still be there when it did, among the fragments.<br />
“Settled” relates to the theme of “Represent: <strong>Misapprehended</strong>”<br />
because it speaks to the struggle of both trying to convey emotion<br />
through visual metaphor, and narratively suggesting aloneness at<br />
the bottom of the print. The figure joining mine on the couch in the<br />
upper portion of the imagery dissolves as the “snow” stops moving,<br />
leaving me to face the viewer alone in a bid for communication.<br />
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<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
DREW DALEO<br />
A Tear in the Horizon, 2021<br />
Oil on Canvas, 56” x 66”<br />
Making images helps me sort complex ideas into digestible parts. How do<br />
I make sense of concepts like superposition, multidimensions, quantum<br />
entanglement and their relationship to our day-to-day? What is a Ghost<br />
Particle, the Unified Field or String Theory? My work is a visual exploration<br />
attempting to reconcile what is seen and unseen. In a psychology course<br />
I learned that the reality we participate in is a construct of our brain/<br />
mind. This idea had a huge impact on everything I understood about<br />
being. Since then I have consumed theories, new research, and far-flung<br />
ideas in order to learn more. My skills and techniques attempt to keep-up<br />
with what inspires me. Physics and science fascinate me. Many concepts<br />
cannot be communicated with words or written language and we know<br />
that lines say something, shapes tell a story, colors express ideas. I create<br />
a formula loaded with visual language that generates an end product for<br />
understanding, clarity and the potential for more ideas. In this formula’s<br />
framework, I plug-in images, codes and techniques which I’m familiar with.<br />
I’m influenced by everything which distills into my work. I give attention to<br />
what inspires me like CGI, 3D printing, and hidden geometry. This current<br />
project focuses on painting and uses traditional painting tools. Refinement<br />
of images as they relate to the idea is my task. I already have a first hand<br />
understanding of this works’ impact. Viewers have expressed appreciation<br />
and understanding of the concepts I attempt to unravel with my work.<br />
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Juror: Enrique Fernández Cervantes<br />
STEVE DANNER<br />
Won’t Get Fooled Again, 2014<br />
Acrylic, 24” x 24” x 1.5”<br />
Communication is the key to our existence and survival.<br />
Understanding others, as well as ourselves, has so much to do<br />
with what we see and hear.<br />
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<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
MONICA DAUCOURT<br />
ON NE MEURT QUI’UN FOIS (YOU ONLY DIE ONCE), 2022<br />
Multimedia (Acrylic & Resin), 30” x 37” x 2”<br />
The abstract work condemns hypocrisy and offers a response:<br />
“L’hypocrisie est un hommage que le vice rend à la vertu.”<br />
François de La Rochefoucauld, philosopher (Hypocrisy is the<br />
homage that vice pays virtu) and Moliere’s satirical response to<br />
the futility of wasting time on insincere communication: “On ne<br />
meurt qu’une fois et c’est pour longtemps” (You only die once<br />
and it’s for a longtime), so you better live life fully.<br />
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Juror: Enrique Fernández Cervantes<br />
THE ARTIST DUB<br />
Over Talking, <strong>2023</strong><br />
Digital Art, 16” x 20”<br />
Sometimes you can over express/communicate/exaggerate things<br />
thru so many different outlets and in so many ways. Sometimes with<br />
the help of those close to us.<br />
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<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
ELIAS GHOSN<br />
<strong>Misapprehended</strong>, <strong>2023</strong><br />
Video Art, 6:21<br />
In this video titled “<strong>Misapprehended</strong>”, the viewer is confronted<br />
to a white background and snippets of different videos that get<br />
revealed in a choreographed dance of geometrical shapes. The<br />
video begins with an interview between Pierce Morgan and<br />
the artist Ye that is clearly audible. However, shortly thereafter,<br />
more and more videos appear making it harder to listen and<br />
understand any of the particular subjects at play. The viewer is<br />
then exposed to a carefully curated selections of videos that<br />
point to conflicting viewpoints where dialogue fails to translate<br />
into a harmonious conversation and rather escalates into loud<br />
arguments and at times violence. The video ends with an actual<br />
video filmed by the artist of a group of insects that showed up<br />
in a branch of his cayenne pepper plant. The artist then cut<br />
the branch, placed it in a jar and filmed what seems to be a<br />
confrontational encounter even among insects, which comes<br />
to show that no matter the location, language or species that<br />
inhabit this planet, conflict and confrontation seems to be innate<br />
to any living organism.<br />
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Juror: Enrique Fernández Cervantes<br />
ALEXANDRA GREEN<br />
Your Face Hurts Me Too, 2022<br />
Soft Sculpture, 17” x 17” x 9”<br />
My father’s career in cultural anthropology gave me an unorthodox<br />
childhood. He hosted his international colleagues at home, and I<br />
fostered pseudo-familial relationships with them. Instead of cultural<br />
appropriation, my work is the intersection of the academic study<br />
of anthropology and a celebration of these cultural experiences<br />
from my childhood. When I work on my sculptures, I can reinterpret<br />
my memories and create a physical representation of my unique<br />
perspective on globalized culture. Through geometric shapes and<br />
abstract forms, I am able to convey myself in a visual language that<br />
to the outside observer does not belong to me culturally. In this way,<br />
I present a subtle discussion about cultural appropriation versus<br />
cultural appreciation.<br />
Your Face Hurts Me Too (2022) utilizes visual motifs to express a<br />
literal miscommunication with my mother during which she said this<br />
piece’s title to me.<br />
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<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
ERICA GUAJARDO<br />
You Can Have Em’..., 2022<br />
Prisma and Ink on Paper + Aerosol Background, 24” x 36” x 2”<br />
Healing the division of society by engaging in a discussion, rather<br />
than confrontation is a dream… Misconstrued assumptions and<br />
misapprehended ideas of what the other side of the conversation<br />
are usually concluded because of personal bias, fear, and mistrust<br />
because of past situations.<br />
“You Can Have Em…” talks about the past and the present.<br />
What happens when an old relationship is over, and the heart of<br />
the relationship is given to the next person? The ideal outcome<br />
would be peaceful, but many times, the person handing over the<br />
heart is placed in a position that you still want to live in that past<br />
life. Instead, all you want to do is say “You Can Have Em…” and<br />
walk away…<br />
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Juror: Enrique Fernández Cervantes<br />
SAM IVIE<br />
SHE: MUSE, Looking Back, <strong>2023</strong><br />
Watercolor, 24” x 32” x 1.5”<br />
Sometimes even artists are unclear about their own work, but<br />
they trust in the process required to make their art. Through this<br />
process, more of the work becomes evident and perhaps when<br />
the work is completed, even more is revealed, but total meaning<br />
can often remain a mystery.<br />
These works are a response to nostalgia and the rediscovery of a<br />
figure during the height of COVID. She is an avatar who gave me<br />
hope at a time when many things seemed hopeless. This is the<br />
way things go when dealing with an uncertain future - we return<br />
to better times, which could mean the past. In these images, I<br />
have plotted my own course, beginning a new journey of selfdiscovery<br />
through their symbols and personal narratives with her<br />
as the guide.<br />
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<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
KAREN JACOBI<br />
Growing, <strong>2023</strong><br />
Watercolor, 26” x 18” x 1”<br />
My work explores the changes as we age within a culture that<br />
regards later life with a mix of apprehension and revulsion.<br />
Change is inevitable; at what point does growth turn to<br />
retrogress and does our personal outlook influence our physical<br />
and mental presence?<br />
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Juror: Enrique Fernández Cervantes<br />
KAME<br />
Untitled. 1c, <strong>2023</strong><br />
Mixed Media on Canvas, 40” x 20” x 1”<br />
The concept of OCD is one of the most misapprehended<br />
subjects people will come across, many misconceptions arise.<br />
On the surface, OCD feels like a harmless quirk but peeling back<br />
the layers will have many shocked at how intrusive and damaging<br />
the matter can be. Men especially suffer from lack of proper<br />
treatment due to these misapprehended concepts.<br />
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<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
BROCK KINGSLEY<br />
Truth, 2022<br />
Screenprint Ink on Paper, 24” x 20” x 1”<br />
I am interested in the way we use language, the way we use<br />
words—the way we determine the use of certain words. I am<br />
interested in the ways we don’t say what we mean, or how we<br />
use words out of context. How we try to communicate and how<br />
we fail, how we misrepresent what we are trying to say. Language<br />
(or a word) does not exist in a vacuum. Definitions are not static,<br />
they are always changing. Often, the meaning of a word is its use<br />
and that use is often reliant on context—not just situational, but<br />
where one word is positioned in relation to other words. These<br />
screen prints—text on paper—invite viewers to examine how they<br />
use words, or what they mean when they use certain words. Text<br />
taken out of its regular context and largely isolated asks for closer<br />
examination. The value one viewer places on a certain definition<br />
can be just as easily dismissed by another. Language is fascinating<br />
and maddening. When we use language, how do we use it? Why<br />
do we use it? What do we mean? And how does that meaning<br />
change based on audience, tone, and situation. How we choose<br />
to invoke language can lead to clarity or misunderstanding. And<br />
misunderstanding can quickly devolve into something bigger.<br />
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BRAULIO LAZON-CONDE<br />
Modern Colonialism, 2022<br />
Woodcut Print, 26” x 41”<br />
Juror: Enrique Fernández Cervantes<br />
As a Dallas artist and an Oak Cliff resident, I wanted to explore<br />
the growth-hungry city and its recurrent issues with housing,<br />
while posing the question: Who (really) benefits from progress?<br />
Development projects that don’t offer solutions to its already<br />
existing inhabitants but instead replace and objectify them, while<br />
investors main focus for corporate gain, amass real state and<br />
human resources, to further develop inequality.<br />
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<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
LINDA LENTZ<br />
Different Perspectives, <strong>2023</strong><br />
Graphite and Pen Drawing, 24” x 18”<br />
“Different Perspectives” and “Close Minded” are connected<br />
to each other as they discuss the effects of not seeing common<br />
ground for those with different beliefs. The former is the<br />
metaphorical symbolism of two houses with two pathways that<br />
don’t connect with each other. Two structures with windows that<br />
show inside perspectives that might conflict with each other<br />
when there is no common ground. This is revealed in “Close<br />
Minded” which is an inside look into these houses that are<br />
filled with angry creatures that are enclosed in a bubble. This<br />
represents how people are uncomfortable and even volatile<br />
when confronted by an opinion that challenges their views on<br />
how they see the world. This makes them unwilling to leave their<br />
“bubble” and comfort of being used to their own beliefs when<br />
given the decision to become more open minded.<br />
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Juror: Enrique Fernández Cervantes<br />
LINDA LENTZ<br />
Close Minded, <strong>2023</strong><br />
Graphite and Pen Drawing, 24” x 18”<br />
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<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
IVETTE LEVY<br />
Transcending Border, <strong>2023</strong><br />
Mix-Media: Acrylic, Gel Sticks, 30” x 40” x 2”<br />
My artwork, titled ‘Transcending Borders,’ intricately weaves together<br />
symbols and elements that embody the theme of the exhibition.<br />
Through the depiction of a chessboard as a microcosm of life’s<br />
challenges and choices, three symbolic pawns emerge, representing<br />
the struggles of humanity against power dynamics. Each pawn<br />
carries a sign bearing untranslatable words from different languages,<br />
encapsulating profound human experiences. The gazes of the pawns<br />
rise toward the upper right corner of the canvas as if seeking guidance<br />
in the vast symphony of existence. As an immigrant, I’ve personally<br />
experienced the frustration of struggling to convey emotions and<br />
thoughts that sometimes seem beyond the grasp of words. On the<br />
upper left side of the canvas, a white square with vertical lines, squares,<br />
and rectangles represents the universal language, a non physical<br />
continuation of the chessboard’s lines, signifying a spiritual connection<br />
that transcends boundaries. With the North Star guiding the way, this<br />
painting navigates the fine balance between individuality and a higher<br />
sense of belonging, resonating with the exhibition’s exploration of the<br />
imperfect nature of dialogue and the quest for genuine understanding.<br />
www.ivetteramoslevy.com<br />
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Juror: Enrique Fernández Cervantes<br />
JACKIE MACLELLAND<br />
The Gossips, 2021<br />
Monotype, 36” x 27” x 1”<br />
The Gossips, of course, are a prime example of misapprehension<br />
and how it can begin. In all the pieces, women are involved with<br />
a world and a universe that is more complex and complicated<br />
every day. Three older women stand with open umbrellas — old<br />
technology in a world that they frequently do not understand.<br />
In the other piece, a young woman looks down into a universe<br />
that she seems to have created— and perhaps understands all to<br />
readily.<br />
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<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
ROMULO MARTINEZ<br />
Disconnected from our being (society individual), 2021<br />
Drawing w/ Colored Pencil, Acrylic Paint, Silkscreen<br />
and Varnish on Canvas, 90” x 50.5” x 1.5”<br />
My work follows that endless balance between mind and heart<br />
and the search for signs to find ourselves through introspection,<br />
which involves communicating and understanding everything<br />
that surround us and impacts our feelings and journey. Not<br />
always we take the chance to interpret others, the sentiment<br />
and background to their decision and by rushing to get an<br />
answer we misjudge the way of others. These works portrayed<br />
circumstances that tells a story behind someone trying to find<br />
something out there, whether is changing channels to tune<br />
in (Disconnected from our being), find the strength to move<br />
forward despite being rooted (Aspirations and their directions) or<br />
seeing our current society that limit themselves to communicate<br />
and get together to agree and have valuable conversation like<br />
the famous see no evil, hear no evil, speak no evil but joined by<br />
those who want to do them all (Limited liability Society).<br />
30
Juror: Enrique Fernández Cervantes<br />
ROBERTA MASCIARELLI<br />
_Captain’s_Log_02_2022, 2022<br />
Assemblage Sculpture w/ Repurposed Materials, 15.5” x 21” x 3”<br />
“Captain’s_Log_02_2022” vividly portrays a time-traveling<br />
spaceship captain observing Earth’s transition from recovery<br />
after COVID to devastation, triggered by the Ukraine-Russia<br />
conflict that commenced in February 2022. The artwork captures<br />
the initial sense of hopefulness following the pandemic, which<br />
is abruptly shattered by the outbreak of a violent conflict that<br />
profoundly impacts Ukraine’s fate. The mention of a potential<br />
“Deus-Ex-Machina” event introduces an element of uncertainty<br />
to the narrative, leaving the captain with unanswered questions<br />
about Earth’s ultimate fate. He remains distant from the unfolding<br />
events, unable to ascertain the final outcome.<br />
31
<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
ROBERTA MASCIARELLI<br />
Sign of Times?, 2021<br />
Assemblage Sculpture w/ Repurposed Materials, 8” x 8” x 8”<br />
“Sign of Times?,” examines our growing disconnection with<br />
reality due to excessive engagement with digital platforms. It<br />
portrays a human figure bound by chains to various social media<br />
platforms, including YouTube, Facebook, Instagram, Twitter, and<br />
references the of the group QAnon, symbolized by the number<br />
17.<br />
32
TESA MORIN<br />
Boundaries for Self-Preservation, <strong>2023</strong><br />
Acrylic + Fabric on Canvas, 14” x 14”<br />
Juror: Enrique Fernández Cervantes<br />
These pieces are from the Borders/Boundaries series in which<br />
I explore the ways people, land, and ideas are divided. The<br />
work often includes ravens as symbols for human behavior.<br />
For this exhibit, I chose two pieces that specifically deal with<br />
communication. In boundaries for self-preservation, the fence<br />
fabric provides protection from angry or hateful words. There are,<br />
however, gaps in the fence that could allow some of the energy<br />
to get through. The other piece, the breakup, shows a lack of<br />
communication. The birds turn away from each other and the<br />
rain gets in between. The erosion of exchanging ideas and active<br />
listening causes separation.<br />
33
<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
TESA MORIN<br />
The Breakup, <strong>2023</strong><br />
Acrylic + Watercolor on Wood, 12” x 12”<br />
These pieces are from the Borders/Boundaries series in which<br />
I explore the ways people, land, and ideas are divided. The<br />
work often includes ravens as symbols for human behavior.<br />
For this exhibit, I chose two pieces that specifically deal with<br />
communication. In boundaries for self-preservation, the fence<br />
fabric provides protection from angry or hateful words. There are,<br />
however, gaps in the fence that could allow some of the energy<br />
to get through. The other piece, the breakup, shows a lack of<br />
communication. The birds turn away from each other and the<br />
rain gets in between. The erosion of exchanging ideas and active<br />
listening causes separation.<br />
34
Juror: Enrique Fernández Cervantes<br />
MICHAEL MULVEY<br />
Identify My Identity, <strong>2023</strong><br />
Original on Wet Plate Output w/ Van Dyke Brown and Cyanotype, 20” x 16”<br />
These works promote a dialog of altering view points and offer a<br />
depth of understanding or misunderstanding depending on how<br />
they are viewed. Both use non-traditional practices in output<br />
in paper and process. Both have ties to analog and digital just<br />
as the subject matter has ties to decades of perception and<br />
detection.<br />
35
<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
ANDRIY NEMCHENKO<br />
Is it Duck Tape or Duct Tape?, 2021<br />
Digital Drawing on Photo, 12.5” x 12.5”<br />
My piece represents visual concepts susceptible to multiinterpretation<br />
and the potential for misapprehension if seen out<br />
of context.<br />
“Is it duck tape or duct tape?” inspired by the overheard<br />
conversation and Maurizio Cattelan’s “Comedian” reveals gaps in<br />
our knowledge of something that should be obvious.<br />
36
MIKEY PEATTIE<br />
Was it Me?, 2022<br />
Gouache and Ink on Watercolor Paper, 12” x 18”<br />
Juror: Enrique Fernández Cervantes<br />
This pieces relates to the concept of this show in the sense that<br />
they attempt to convey complex feelings and thoughts that<br />
are not always easily communicable through words alone, and<br />
therefore can be easily misunderstood or misconstrued. Its my<br />
attempt to communicate through visual information the struggles<br />
and hardships that I have faced/am facing in my life. This work<br />
serves as catharsis for me, and seek to relate to viewers who may<br />
have similar experiences in their personal lives.<br />
37
<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
GLENY QUICK<br />
commūnicāre, <strong>2023</strong><br />
Video, 1:15<br />
Is our communication a placeholder for the deep and real?<br />
Do emojis replace personal and individualized response?<br />
Has diminished communication dulled us to the human condition<br />
– or, dulled the human condition?<br />
38
Juror: Enrique Fernández Cervantes<br />
ANASTACIA SADEH<br />
No Way Through, 2020<br />
Acrylic, Alcohol Ink and Venetian Plaster on Canvas, 30” x 40” x 1.5”<br />
I loved the transparency of subject matter in this exhibition- it’s<br />
a subject that correlates directly with my interests in mental<br />
health, self-awareness, and it’s effects on human connection and<br />
communication. It has become apparent to me that people tend<br />
to meet others only as deeply as they have met themselves. This<br />
individual-awareness directly affects how people communicate.<br />
When individual emotional-protection is upheld more vehemently<br />
that individual authentic-connection, communication is lost. The<br />
works below explore this.<br />
“No Way Through” explores the myriad of emotional and<br />
psychological layers that often isolate individuals from desired<br />
connection and communication. These layers visually block the<br />
viewer from the the figure as they avert their gaze. In this work,<br />
all communication is lost for the viewer and the subject. This<br />
painting juxtaposes visual references of organic matter (referencing<br />
generational influences) with rigid, grid like patterns (societal<br />
influences) in order to emphasize the complication nature of issues<br />
leading to human isolation of heart and mind.<br />
39
<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
SHAWN SAUMELL<br />
Divided, <strong>2023</strong><br />
Photography, 12” x 18” x 1”<br />
Media, as a powerful tool for shaping perceptions and values,<br />
has both the potential to promote diversity and inclusion and<br />
the capacity to reinforce stereotypes and biases. The portrayal of<br />
race and gender in media can profoundly impact how individuals<br />
perceive themselves and others, ultimately influencing societal<br />
norms and attitudes. Whether through casting decisions,<br />
storylines, or advertising campaigns, media plays a significant<br />
role in reflecting and sometimes perpetuating systemic<br />
inequalities.<br />
Simultaneously, the rapid advancement of technology,<br />
particularly artificial intelligence and simulation, is blurring<br />
the lines between reality and virtuality. Virtual environments,<br />
deepfakes, and hyper-realistic simulations challenge our ability<br />
to discern between authentic experiences and fabricated ones,<br />
giving rise to discussions about the “uncanny valley.” This<br />
phenomenon refers to the eerie feeling we experience when<br />
encountering human-like entities that fall just short of being<br />
indistinguishable from real humans.<br />
40
Juror: Enrique Fernández Cervantes<br />
SHAWN SAUMELL<br />
Sounds of Silence, <strong>2023</strong><br />
Photography, 12” x 18” x 1”<br />
Amidst these transformations, the media landscape has become<br />
a breeding ground for miscommunication and misinformation.<br />
Politicians, powerful entities, celebrities, and the wealthy can<br />
manipulate public opinion with their influence. The distortion<br />
of truth not only erodes public trust but also undermines the<br />
democratic process by shaping collective decisions based on<br />
distorted premises.<br />
A heightened awareness of the implications of AI, simulation,<br />
censorship, and misinformation is necessary to safeguard<br />
the integrity of public discourse and democratic values. By<br />
critically engaging with these issues, we can strive for a more<br />
equitable, informed, and resilient society that embraces diversity,<br />
challenges manipulation, and navigates the evolving landscapes<br />
of media and technology.<br />
41
<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
SHAWN SAUMELL<br />
See No Solutions, Hear No Solutions,<br />
Speak No Solutions, <strong>2023</strong><br />
Photography, 18” x 24” x 1”<br />
42
SHARON SHERO<br />
I Hear You, 2017<br />
Photography/Photo Montage, 66” x 44” x 2”<br />
Juror: Enrique Fernández Cervantes<br />
These images are from my series, “Dark Matters | Nigrum<br />
Tenebrae,” where within each there is a veiled commentary<br />
that inconveniences the viewer’s first impression. With a wink<br />
towards Rembrandt’s chiaroscuro rendering, I began shooting in<br />
my studio at night with a single light source, testing a range of<br />
settings to find a mood suitable to the subject [dark] matter.<br />
“I Hear You” presents two women appearing to be gossiping<br />
and thoroughly enjoying their conversation. The man in the<br />
background—is he eavesdropping? Are they discussing him?<br />
Does he have an alternative intention?<br />
My challenge here is to evoke a sensibility of bewildered<br />
repulsion tempered with sleight-of-hand humor.<br />
43
<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
JANE CORNISH SMITH<br />
Misperceived Trans Pie, <strong>2023</strong><br />
Cold Wax Medium and Oil on Paper, 54” x 37”<br />
The work I am submitting for “REPRESENT: <strong>Misapprehended</strong>”<br />
points to an increasingly divisive discourse that results in violent<br />
discord—yet with the hope that tribal contention will ultimately<br />
yield to justice, understanding, and basic human rights.<br />
“Misperceived Trans Pie”, depicts a transgender individual,<br />
who is part of a community that makes up roughly 1% of the<br />
population, with superimposed circular pie-shapes that speak to<br />
the irrational fear of losing one’s piece of the pie; a misperception<br />
that the transgender community makes up about 21 percent of the<br />
population—an engendered false threat and case of innumeracy.<br />
This work was made with the intent to shine a light on discourse<br />
gone awry, sadly informed by bias, ignorance, misinformation, fear,<br />
hate, and suspicion. With light comes illumination, more rational<br />
dialogue, and the prevailing goodness of the human spirit.<br />
44
Juror: Enrique Fernández Cervantes<br />
IZZY SNEED<br />
Get a Cuter Booty in 3 Weeks, <strong>2023</strong><br />
Oil Paint on Canvas, Archive Seventeen Magazine Clippings,<br />
Journal Entries, Tape Measure, 30” x 40” x 0.5”<br />
This work is about my experiences in a plus sized body. These<br />
pieces are not a rejection or acceptance of society’s dialogue<br />
surrounding fat bodies. The figure interacts with the outside<br />
media within a liminal space where it is unapparent whether she<br />
is consuming the ideas or rejecting them. The figures are nude<br />
and life size. This will force the audience to stare upon a body<br />
type that is typically rejected, and see how types of diet culture<br />
media like magazines work out tips interact with the bodies they<br />
target.<br />
45
<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
JAE-EUN SUH<br />
Fractured Map, 2022<br />
3D Scan and Digital Collage, 13” x 19” x 0.5”<br />
“Fractured Map,” is a digital composition made from 3D scans<br />
of physical art. The visuals are transformed into various textures,<br />
resembling scattered puzzle pieces, disrupting their original<br />
order. This manipulation blurs the sense of time and effort that<br />
went into them. When viewing these fragments collectively,<br />
it’s challenging to grasp their intended form. Can anyone<br />
reconstruct and understand what they originally represented?<br />
Could some elements have been concealed or overlooked<br />
during this transformation? This work aligns with the theme of<br />
‘misapprehended,’ exploring how altered context can lead to<br />
misconceptions.<br />
46
Juror: Enrique Fernández Cervantes<br />
JAE-EUN SUH<br />
from:/to: home, 2022<br />
Video, 7:39<br />
“from:/to: home” explores the diverse stages of transition and<br />
change, revealing how these encounters can create feelings of<br />
confusion or misinterpretation. The concept of home transforms<br />
over time, no longer resembling the past we recall, instead<br />
shifting and evolving. This exploration employs visuals, sounds,<br />
and emotions in each phase, showcasing the intricate nature of<br />
these transitions. Childhood to adulthood, navigating change,<br />
and confronting deep thoughts and memories are portrayed<br />
from different viewpoints, evoking various emotions, sometimes<br />
overwhelming. This portrayal underscores how life’s transitions<br />
can frequently be misconceived or not fully grasped due to their<br />
multifaceted complexity.<br />
47
<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
NARONG TINTAMUSIK<br />
Underneath the Skin of My Mother’s Clothing 1, <strong>2023</strong><br />
Acrylic, Collage, Laser Etching on 300 gsm Strathmore Paper, 18” x 24”<br />
The “Underneath the Skin of My Mother’s Clothing” series captures the<br />
essence of my mother’s traditional Thai attire. Rooted in Thai culture’s<br />
animism belief, that all things hold spiritual essence, I explored whether<br />
these textiles carried a kind of “life.” I started by photographing them and<br />
using digital tools like Adobe Illustrator and a laser cutter to dissect the<br />
clothing. This transformed the textiles, revealing new patterns and hidden<br />
details. The resulting art often echoes cellular forms, symbolizing that even<br />
everyday objects hold the wearer’s essence and history. This series blends<br />
heritage and technology, honoring our past’s role in shaping today and<br />
tomorrow. Through it, I invite viewers to reflect on the stories woven into<br />
existence, connecting us to our roots.<br />
My art resonates with the “<strong>Misapprehended</strong>” concept, depicting the gap<br />
between first impressions and deeper intricacies. It reflects how people<br />
perceive the world, often without fully grasping the unique experiences of<br />
living and non-living entities. As my pieces merge heritage and technology,<br />
they echo the theme of misunderstanding. They underline the contrast<br />
between surface impressions and real truths. Ultimately, my art embodies<br />
the show’s idea, offering a tangible glimpse into the complex nature of<br />
communication, comprehension, and the potential for confusion.<br />
48
Juror: Enrique Fernández Cervantes<br />
MARILYN WALIGORE<br />
Aluminum Blue Fish #12, <strong>2023</strong><br />
Archival Pigment Print, 40” x 32”<br />
Through my artwork, I explore the powers of attraction and repulsion as I<br />
reflect on questions relating to sustainability. These photographs document<br />
objects that are assembled to create sculptural forms. In my photographs,<br />
I have constructed these undersea worlds to reference our impact on the<br />
environment, using aluminum packaging to describe aquatic creatures. At<br />
first glance, these images appear to represent an underwater space filled<br />
with forms that resemble fish. However, upon closer examination these<br />
images reveal a less than ideal, troubling arena where natural forms have<br />
become intertwined with detritus. The idea of misapprehension corresponds<br />
to our limited view of our vast oceans, where ongoing changes often occur<br />
beyond our notice. My transformation of aluminum detritus into monstrous<br />
and fantastic sea creatures alludes to the contrast between our disregard for<br />
the environment and our simultaneous dependence upon it for our survival.<br />
Aluminum packaging becomes symbolic of our use of natural resources as the<br />
images suggest fanciful options for the recycling of post-consumer waste. I<br />
affirm the materiality of objects that we tend to “delete” from our visual field,<br />
despite their prevalence in our urban environments. Collected during walks in<br />
my neighborhood, this litter can be described as the “trash of trash.” I hope to<br />
encourage an embrace of the potential actions of reduce, reuse, recycle, and<br />
conserve, while fostering reconsideration of our daily habits, and their eventual<br />
global impact.<br />
49
<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
GORDON YOUNG<br />
Its Enough to Make Me Scream, 2020<br />
Collage, 7” x 6”<br />
This piece is a collage based on how through the combination<br />
of unrelated images and texts, taken from a variety of sources,<br />
the artist brings new meaning to both. The texts and images are<br />
constructed formally which, at times, adds a new tension and<br />
confusion to the resulting piece. Even though the artist has no<br />
preconceived meaning to the combinations the viewer will give<br />
meaning to the resulting work through the clues provided by the<br />
artist.<br />
50
Juror: Enrique Fernández Cervantes<br />
SHARON ZIGROSSI<br />
Beauty in the Cracks, <strong>2023</strong><br />
Found Objects, 8.5”<br />
<strong>Misapprehended</strong> - what we see and our preconceived value of<br />
the objects used in the artwork Beauty In The Cracks. If you saw<br />
the materials of this art piece gathered in a pile; the bottle caps,<br />
hearing aid batteries, produce plastic netting, yarn, a plastic<br />
wheel and a found car part, you would not see beauty or art.<br />
But allowed to be assembled and interpreted in a different way<br />
Beauty In The Cracks could change one’s view of the objects that<br />
were destined for the landfill. Others might recognize the found<br />
objects and not appreciate or take a leap in thought to see this<br />
gathered assemblage of materials as a work of art.<br />
51
<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
52
Juror: Enrique Fernández Cervantes<br />
ACKNOWLEDGMENTS<br />
The <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT! Series juried exhibition <strong>Misapprehended</strong><br />
came from the vision, efforts, and support of many people. I want to thank our<br />
juror, Enrique Fernández Cervantes, who conceived of a compelling exhibition<br />
theme and has devoted so much of his time and expertise in jurying and laying out<br />
the exhibition. For her work in making every step of the exhibition run smoothly—<br />
from helping plan the event to installing the work and creating this booklet—I’d like<br />
to thank Cher Musico, our Technical Director and Gallery Manager. Thank you also<br />
to alumni, Andrea Sparks for designing the <strong>Misapprehended</strong> graphics and graduate<br />
student Alyssa Cox for assisting in installing the work. I’d like to also thank Colby<br />
Parsons, our <strong>Visual</strong> Art Division Head, for first conceiving of the juried exhibition<br />
series in 2020. Finally, thank you to our <strong>Misapprehended</strong> exhibition artists who<br />
have produced thoughtful, amazing work.<br />
53
<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
54
Juror: Enrique Fernández Cervantes<br />
55
<strong>Fall</strong> <strong>2023</strong> <strong>Visual</strong> Culture: REPRESENT!: <strong>Misapprehended</strong><br />
<strong>Visual</strong> Culture: REPRESENT! Series<br />
Brought to you by Texas Woman’s University’s <strong>Visual</strong> Art<br />
Department, the BA in Art (Art History & <strong>Visual</strong> Culture), and the<br />
MA in Art ( Art History & <strong>Visual</strong> Culture) Program<br />
Texas Woman’s University<br />
Division of <strong>Visual</strong> <strong>Arts</strong><br />
Fine <strong>Arts</strong> Building, East | West Galleries<br />
302 Pioneer Circle, Denton, TX 76209<br />
56<br />
twu.edu/visual-arts // @twuvisualarts<br />
FALL <strong>2023</strong>