This season's SOUP show is full of contrasts.
The seven-artists-strong posse behind it use a myriad of styles, techniques and materials as diverse as nylon bags drooping with eggshells and stones (“Premature Prosperity,” Austin Ballard); empty paint cans (“Regal Aquavelvet,” Clayton Venhuizen); turf and supposed sound recordings of earthworms (“Grassbasket: Lauds,” Malena Bergmann); and more conventional ink and acrylic paint.
Venhuizen's paint cans rise tower-like from a bed of dried latex lily pads to touch the roof trusses. “Kickshaw,” Selena Beaudry's series of pink and yellow wall paintings, caresses the walls, while Diana Arvanites' black-and-white “drawings” of fiber and wire trail across the walls.
Barbara Schreiber's renderings make mischief with our preconceptions of intimate, prettily colored art. Small, cartoon-like and ultimately vicious, they pull us in. Innocence is wickedly betrayed as a perambulating quail watches a coyote eating a girl – before finding itself in a sniper's sights.
Karmina McMillan's ambitious mixed media “The American Dream” is part graffiti, part slapdash and all heart, and carries a personal message in red writing, articulated, painted and collaged across two walls.
There is hope and suppressed anger in SOUP 5, as well as just plain fun. Go see for yourself.