At Face Value: Art that reveals and reflects

With October upon us and spooky season in full swing, you might find yourself captivated by the masks and creatures in Gallery II's “Masks and Mirrors” exhibition. This collection invites you to explore the playful, yet profound, expressions of human emotion crafted by artists Jolynn Reigeluth and Hideki Suzuki. Reigeluth’s mixed media linocuts capture the complexities of existence, while Suzuki’s hand-crafted masks blend ancient traditions with universal emotions. Together, their vibrant artwork invites viewers to reflect on the absurdity and beauty of being human.

Reigeluth’s pieces, such as “Imposter Syndrome" and “Woe to You,” tackle the universal anxieties and ironies. "My work is all about being a human, particularly the chaos of our internal monologues, worries and insecurities," she says. Her vibrant, satirical pieces often evoke a sense of nostalgia, drawing inspiration from mid-century cartoons, surrealist artists and jazz musicians.

What makes Reigeluth's work so engaging is its ability to juxtapose humor and deeper existential themes. Pieces like “This Little Piggy" and “Three DISgraces" might make a viewer laugh with their cartoonish, exaggerated figures, but reveal commentary on the emotional highs and lows of everyday life.

Suzuki’s masks, on the other hand, reflect a meticulous and thoughtful engagement with Japanese tradition. Using techniques inspired by Noh theater, he carves each mask by hand from wood and finishes them with layers of gelatin and watercolor, creating an antique look. Masks like “Magic Fox," “Smile of Gold" and “Japanese Farmer" tell stories of myth, history and imagination, rooted in Japanese cultural heritage, creating a visual narrative that is both whimsical and thought-provoking.

His fascination with bringing emotion to life through such a limited form—the face only—shows in his work. “Stories involving strong emotions like anger and happiness are easier to create due to their obvious facial expressions; in contrast, more subtle stories are harder,” says Suzuki. He uses additional details and titles to convey deeper layers.

Although their mediums differ, Reigeluth and Suzuki share a connection in their approach to exploring the complexities of human existence. "We both work with centuries-old techniques to tell new and personal stories," Reigeluth says.

A highlight of the exhibition for Reigeluth was how the Overture team curated her work alongside Suzuki’s masks. “There are some wonderful parallels between our pieces,” she explains. “It’s a truly unique, and I think, genius combination.” Suzuki echoes this sentiment, appreciating how the gallery staff helped blend their distinct styles.

Overture Galleries always strives to pair artists who have complementary work, but the connection between Reigeluth and Suzuki seems extra special. Though Reigeluth is based in Indianapolis, after installing their work the artists grabbed coffee and exchanged thoughts on their creative goals. “Our discussions were really stimulating,” Suzuki says. While they didn’t reach final conclusions, their conversation was rewarding and thought-provoking.

As for what they hope visitors will take away from the exhibition, both artists offer different, yet complementary, perspectives. Reigeluth hopes that viewers will find something familiar in her work, even if they can’t articulate it. “The best thing that can happen is when someone looks at an image of mine and thinks, ‘I’ve felt that before,’” she says. Suzuki hopes his masks elicit a playful response. “I want people to stare, giggle and maybe even check out more of my masks online.”

Together, their works ask the audience to contemplate, laugh and reflect on the facets of being human, offering a unique artistic experience that lingers long after leaving the gallery.

Check out their work in Gallery II until Sunday, Dec. 1. Their work is available for sale on OvertureStore.org. Continue to follow them beyond this exhibition at Facebook.com/Studio.WoodBell and JolynnReigeluth.com.

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