Misapprehended - Fall 2023 - Visual Arts

Juror: Enrique Fernández Cervantes 

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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Fall 2023 Visual Culture: REPRESENT!: Misapprehended 

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Brought to you by Texas Woman’s University’s Visual Art Department, the BA in 

Art (Art History & Visual Culture), and the MA in Art ( Art History & Visual Culture) 

Program 

Texas Woman’s University’s Visual Art Department is excited to announce the 2023 

Visual Culture: REPRESENT!: Misapprehended. This open call for all media Texas 

artists compliments the scholarship and learning opportunities of our BA in Art (Art 

History & Visual Culture) and MA in Art (Art History & Visual Culture). 

Department Statement 

This series’ mission puts into practice the B.A in Art (Art History & Visual Culture) 

and MA in Art (Concentration in Art History & Visual Culture) program’s and the 

Visual Arts department’s commitment to interdisciplinarity, diversity, inclusion, and 

social justice advocacy. In emphasizing the need to REPRESENT, the series reflects 

the program’s enthusiasm for the role of visual art in activism and its ability to be 

a platform for underrepresented voices. In our student-centered department we 

are committed to engaging with the community and fostering transformational 

dialogues through visual art. 

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TWU Visual Arts presents 




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Theme: Misapprehended 

Although dialogue is often presented as a potential remedy 

for our conflicting viewpoints and as a key to heal the divisions 

of our society, the unfortunate reality is that engaging in a 

discussion is not always the perfect solution to get a clear idea 

of what people are attempting to reveal to the world. Imperfect 

dialogue can lead to misinterpretations, confrontation, and 

inability to understand the perspectives of one another. One fact 

about communication is that it can be flawed and misconceived, 

regardless of how much effort, honesty, and vehemence go into 

expressing a personal truth. 

To complicate matters further, people are sometimes fragmented 

into groups that are not inclined to fully comprehend the 

worldview and experiences of those who, to them, appear to be 

different. Despite the eagerness of many to explain their outlook 

on a variety of issues, their conversations can still be ineffective 

and can generate misapprehended ideas and misconstrued 

assumptions. This failure of communication is caused, primarily, 

by personal biases, lack of knowledge, aversion, fear, mistrust, or 

misinformation. 

This exhibition will explore the notion that, many times, 

people do not see and understand the point of view of others 

completely and truthfully. The art in the show will investigate 

ways in which discourse and communication can be unsuccessful 

despite of the genuine efforts of the interlocutors to share 

personal views and experiences clearly and emphatically. 

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Juror 

The exhibition will be juried by Enrique Fernández Cervantes, 

the Visual Arts Coordinator / Curator of the Bath House 

Cultural Center. Mr. Fernández has experience as a visual 

artist, exhibition curator and graphic designer. His paintings, 

photographs and mixed media artwork have been exhibited 

in galleries and museums since the mid-1990s. Mr. Fernández 

has held the position of Visual Arts Coordinator and Curator of 

Exhibitions at the Bath House Cultural Center and has curated 

exhibitions for other facilities of the City of Dallas Office of Arts 

and Culture (formerly known as the Office of Cultural Affairs) 

since 1999. 

Series Statement 

Visual Culture opens up the opportunity to explore work that 

moves within and beyond the traditional boundaries of art history 

to construct a broader sense of how imagery communicates 

sociocultural ideas. This series draws on the inclusivity of visual 

culture to engage with the concept of representation within 

social justice contexts. 

https://twu.edu/visual-arts/galleries/exhibitions-and-programming/ 

represent-misapprehended/ 

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SELECTED ARTISTS 

Alexandra Barnett, 

Kimberly Bradshaw Meadows, 

Dwayne Carter, Zoë Couvillion, 

Drew Daleo, Steve Danner, 

Monica Daucourt, The Artist Dub, 

Elias Ghosn, Alexandra Green, 

Erica Guajardo, Sam Ivie, 

Karen Jacobi, kame, Brock Kingsley, 

Braulio Lazon-Conde, Linda Lentz, 

Ivette Levy, Jackie Maclelland, 

Romulo Martinez, Roberta Masciarelli, 

Tesa Morin, Michael Mulvey, 

Andriy Nemchenko, Mikey Peattie, 

Glenys Quick, Anastacia Sadeh, 

Shawn Saumell, Sharon Shero, 

Jane Cornish Smith, Izzy Sneed, 

Jae-Eun Suh, Narong Tintamusik, 

Marilyn Waligore, Gordon Young, 

Sharon Zigrossi 

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TWU Visual Arts presents 




October 10 - November 3, 2023 

JUROR 

Enrique Fernández Cervantes 

Visual Arts Coordinator 

Curator of the Bath House Cultural Center in Dallas, Texas 

Texas Woman’s University 

Division of Visual Arts, Fine Arts Building 

East | West Galleries 

302 Pioneer Circle 

Denton, TX 76209 

twu.edu/visual-arts 

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ALEXANDRA BARNETT 

AS IT IS/AS IT WAS, 2022 

Archival Print on Aluminum, 41” x 62 “ 

My works centralizes on what it is to be a survivor of sexual 

assault and the difficulty of building trust in a new romantic 

partnership. I use blurred or overlaid imagery to symbolize mixed 

emotions and the dichotomy of craving intimacy with someone 

while also feeling scared or triggered by it. I feel my work 

relates to the theme because when I would attempt to explain 

my headspace to those who couldn’t relate, it would lead to 

misunderstandings of my situation. I began to create these series 

with the intent to no longer “say” how I felt, but rather “show.” 

Not only did this allow me to have more candid conversations, 

but these images allowed me to articulate themes and emotions 

that were too complex for words alone. 

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KIMBERLY BRADSHAW MEADOWS 

Bomb Shelter, 2021 

Acrylic on Canvas, 16” x 20” x 2” 

This piece relates to the theme of the show in terms of how the 

main character has responded to the outside world. Each have 

formed their own means of escape or bubble of protection 

in response to the circumstances of the chaos around them. 

Despite living in peace with nature, peace with others that may 

have been excluded from community, escape is attempted, but 

most likely not successful...It is difficult to escape or protect one’s 

self and those we care for from all of the outrageous actions of 

those that do not see or feel empathy for others. 

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DWAYNE CARTER 

A Pit of Artists, 2023 

Digital Print on Canvas, 44” x 70” 

My work often focuses on the consequences of the irrational 

decisions we make both collectively and individually. The 

imagery in my digital prints relates to Zine /photo novella 

projects in which I create worlds parallel to our own. In these 

zines, I have explored themes such as Living in a False Universe, 

Irrational City, Disputed Ideals and Extreme Discontent. Often 

our irrational side leads us to override the logic and wisdom that 

comes from our experiences. This can lead to bad results. 

Perhaps we are flawed irrational creatures and simply accept that 

greed, peer pressure and even love can blind us from sensing 

the truth. Or, could it be that inspiration and emotion lead us 

to find truths in places where logic cannot always go. A Pit of 

Artists, Frisco Arts Colony and Parade of Tragedy all show the 

dark results of our irrationality. Can our reaction to these dark 

theatrical images lead us to a cathartic experience similar to the 

release we feel when leaving a scary horror movie. Perhaps our 

misunderstanding of the images can lead us to something new. 

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ZOË COUVILLION 

Settled, 2023 

Stone Lithography, 12” x 9” 

During the beginning of this year, my life was in complete chaos. 

I ended a long-term relationship, was in a car accident, had to 

move because my lease was ending in Ohio, and couldn’t renew 

the contract for my then-job. When friends would ask how I was 

handling things, I would describe the days as being inside a 

snow-globe: with every flake being an important element of my 

life. I pictured myself sitting in the knick-knack and watching as 

everything I couldn’t control flurried around me. I imagined clinging 

desperately to the furniture inside—so as not to be swept away. 

I knew the “snow” would eventually settle, but I wondered who 

in my life would still be there when it did, among the fragments. 

“Settled” relates to the theme of “Represent: Misapprehended” 

because it speaks to the struggle of both trying to convey emotion 

through visual metaphor, and narratively suggesting aloneness at 

the bottom of the print. The figure joining mine on the couch in the 

upper portion of the imagery dissolves as the “snow” stops moving, 

leaving me to face the viewer alone in a bid for communication. 

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DREW DALEO 

A Tear in the Horizon, 2021 

Oil on Canvas, 56” x 66” 

Making images helps me sort complex ideas into digestible parts. How do 

I make sense of concepts like superposition, multidimensions, quantum 

entanglement and their relationship to our day-to-day? What is a Ghost 

Particle, the Unified Field or String Theory? My work is a visual exploration 

attempting to reconcile what is seen and unseen. In a psychology course 

I learned that the reality we participate in is a construct of our brain/ 

mind. This idea had a huge impact on everything I understood about 

being. Since then I have consumed theories, new research, and far-flung 

ideas in order to learn more. My skills and techniques attempt to keep-up 

with what inspires me. Physics and science fascinate me. Many concepts 

cannot be communicated with words or written language and we know 

that lines say something, shapes tell a story, colors express ideas. I create 

a formula loaded with visual language that generates an end product for 

understanding, clarity and the potential for more ideas. In this formula’s 

framework, I plug-in images, codes and techniques which I’m familiar with. 

I’m influenced by everything which distills into my work. I give attention to 

what inspires me like CGI, 3D printing, and hidden geometry. This current 

project focuses on painting and uses traditional painting tools. Refinement 

of images as they relate to the idea is my task. I already have a first hand 

understanding of this works’ impact. Viewers have expressed appreciation 

and understanding of the concepts I attempt to unravel with my work. 

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STEVE DANNER 

Won’t Get Fooled Again, 2014 

Acrylic, 24” x 24” x 1.5” 

Communication is the key to our existence and survival. 

Understanding others, as well as ourselves, has so much to do 

with what we see and hear. 

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MONICA DAUCOURT 

ON NE MEURT QUI’UN FOIS (YOU ONLY DIE ONCE), 2022 

Multimedia (Acrylic & Resin), 30” x 37” x 2” 

The abstract work condemns hypocrisy and offers a response: 

“L’hypocrisie est un hommage que le vice rend à la vertu.” 

François de La Rochefoucauld, philosopher (Hypocrisy is the 

homage that vice pays virtu) and Moliere’s satirical response to 

the futility of wasting time on insincere communication: “On ne 

meurt qu’une fois et c’est pour longtemps” (You only die once 

and it’s for a longtime), so you better live life fully. 

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THE ARTIST DUB 

Over Talking, 2023 

Digital Art, 16” x 20” 

Sometimes you can over express/communicate/exaggerate things 

thru so many different outlets and in so many ways. Sometimes with 

the help of those close to us. 

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ELIAS GHOSN 

Misapprehended, 2023 

Video Art, 6:21 

In this video titled “Misapprehended”, the viewer is confronted 

to a white background and snippets of different videos that get 

revealed in a choreographed dance of geometrical shapes. The 

video begins with an interview between Pierce Morgan and 

the artist Ye that is clearly audible. However, shortly thereafter, 

more and more videos appear making it harder to listen and 

understand any of the particular subjects at play. The viewer is 

then exposed to a carefully curated selections of videos that 

point to conflicting viewpoints where dialogue fails to translate 

into a harmonious conversation and rather escalates into loud 

arguments and at times violence. The video ends with an actual 

video filmed by the artist of a group of insects that showed up 

in a branch of his cayenne pepper plant. The artist then cut 

the branch, placed it in a jar and filmed what seems to be a 

confrontational encounter even among insects, which comes 

to show that no matter the location, language or species that 

inhabit this planet, conflict and confrontation seems to be innate 

to any living organism. 

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ALEXANDRA GREEN 

Your Face Hurts Me Too, 2022 

Soft Sculpture, 17” x 17” x 9” 

My father’s career in cultural anthropology gave me an unorthodox 

childhood. He hosted his international colleagues at home, and I 

fostered pseudo-familial relationships with them. Instead of cultural 

appropriation, my work is the intersection of the academic study 

of anthropology and a celebration of these cultural experiences 

from my childhood. When I work on my sculptures, I can reinterpret 

my memories and create a physical representation of my unique 

perspective on globalized culture. Through geometric shapes and 

abstract forms, I am able to convey myself in a visual language that 

to the outside observer does not belong to me culturally. In this way, 

I present a subtle discussion about cultural appropriation versus 

cultural appreciation. 

Your Face Hurts Me Too (2022) utilizes visual motifs to express a 

literal miscommunication with my mother during which she said this 

piece’s title to me. 

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ERICA GUAJARDO 

You Can Have Em’..., 2022 

Prisma and Ink on Paper + Aerosol Background, 24” x 36” x 2” 

Healing the division of society by engaging in a discussion, rather 

than confrontation is a dream… Misconstrued assumptions and 

misapprehended ideas of what the other side of the conversation 

are usually concluded because of personal bias, fear, and mistrust 

because of past situations. 

“You Can Have Em…” talks about the past and the present. 

What happens when an old relationship is over, and the heart of 

the relationship is given to the next person? The ideal outcome 

would be peaceful, but many times, the person handing over the 

heart is placed in a position that you still want to live in that past 

life. Instead, all you want to do is say “You Can Have Em…” and 

walk away… 

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SAM IVIE 

SHE: MUSE, Looking Back, 2023 

Watercolor, 24” x 32” x 1.5” 

Sometimes even artists are unclear about their own work, but 

they trust in the process required to make their art. Through this 

process, more of the work becomes evident and perhaps when 

the work is completed, even more is revealed, but total meaning 

can often remain a mystery. 

These works are a response to nostalgia and the rediscovery of a 

figure during the height of COVID. She is an avatar who gave me 

hope at a time when many things seemed hopeless. This is the 

way things go when dealing with an uncertain future - we return 

to better times, which could mean the past. In these images, I 

have plotted my own course, beginning a new journey of selfdiscovery 

through their symbols and personal narratives with her 

as the guide. 

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KAREN JACOBI 

Growing, 2023 

Watercolor, 26” x 18” x 1” 

My work explores the changes as we age within a culture that 

regards later life with a mix of apprehension and revulsion. 

Change is inevitable; at what point does growth turn to 

retrogress and does our personal outlook influence our physical 

and mental presence? 

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KAME 

Untitled. 1c, 2023 

Mixed Media on Canvas, 40” x 20” x 1” 

The concept of OCD is one of the most misapprehended 

subjects people will come across, many misconceptions arise. 

On the surface, OCD feels like a harmless quirk but peeling back 

the layers will have many shocked at how intrusive and damaging 

the matter can be. Men especially suffer from lack of proper 

treatment due to these misapprehended concepts. 

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BROCK KINGSLEY 

Truth, 2022 

Screenprint Ink on Paper, 24” x 20” x 1” 

I am interested in the way we use language, the way we use 

words—the way we determine the use of certain words. I am 

interested in the ways we don’t say what we mean, or how we 

use words out of context. How we try to communicate and how 

we fail, how we misrepresent what we are trying to say. Language 

(or a word) does not exist in a vacuum. Definitions are not static, 

they are always changing. Often, the meaning of a word is its use 

and that use is often reliant on context—not just situational, but 

where one word is positioned in relation to other words. These 

screen prints—text on paper—invite viewers to examine how they 

use words, or what they mean when they use certain words. Text 

taken out of its regular context and largely isolated asks for closer 

examination. The value one viewer places on a certain definition 

can be just as easily dismissed by another. Language is fascinating 

and maddening. When we use language, how do we use it? Why 

do we use it? What do we mean? And how does that meaning 

change based on audience, tone, and situation. How we choose 

to invoke language can lead to clarity or misunderstanding. And 

misunderstanding can quickly devolve into something bigger. 

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BRAULIO LAZON-CONDE 

Modern Colonialism, 2022 

Woodcut Print, 26” x 41” 


As a Dallas artist and an Oak Cliff resident, I wanted to explore 

the growth-hungry city and its recurrent issues with housing, 

while posing the question: Who (really) benefits from progress? 

Development projects that don’t offer solutions to its already 

existing inhabitants but instead replace and objectify them, while 

investors main focus for corporate gain, amass real state and 

human resources, to further develop inequality. 

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LINDA LENTZ 

Different Perspectives, 2023 

Graphite and Pen Drawing, 24” x 18” 

“Different Perspectives” and “Close Minded” are connected 

to each other as they discuss the effects of not seeing common 

ground for those with different beliefs. The former is the 

metaphorical symbolism of two houses with two pathways that 

don’t connect with each other. Two structures with windows that 

show inside perspectives that might conflict with each other 

when there is no common ground. This is revealed in “Close 

Minded” which is an inside look into these houses that are 

filled with angry creatures that are enclosed in a bubble. This 

represents how people are uncomfortable and even volatile 

when confronted by an opinion that challenges their views on 

how they see the world. This makes them unwilling to leave their 

“bubble” and comfort of being used to their own beliefs when 

given the decision to become more open minded. 

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LINDA LENTZ 

Close Minded, 2023 

Graphite and Pen Drawing, 24” x 18” 

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IVETTE LEVY 

Transcending Border, 2023 

Mix-Media: Acrylic, Gel Sticks, 30” x 40” x 2” 

My artwork, titled ‘Transcending Borders,’ intricately weaves together 

symbols and elements that embody the theme of the exhibition. 

Through the depiction of a chessboard as a microcosm of life’s 

challenges and choices, three symbolic pawns emerge, representing 

the struggles of humanity against power dynamics. Each pawn 

carries a sign bearing untranslatable words from different languages, 

encapsulating profound human experiences. The gazes of the pawns 

rise toward the upper right corner of the canvas as if seeking guidance 

in the vast symphony of existence. As an immigrant, I’ve personally 

experienced the frustration of struggling to convey emotions and 

thoughts that sometimes seem beyond the grasp of words. On the 

upper left side of the canvas, a white square with vertical lines, squares, 

and rectangles represents the universal language, a non physical 

continuation of the chessboard’s lines, signifying a spiritual connection 

that transcends boundaries. With the North Star guiding the way, this 

painting navigates the fine balance between individuality and a higher 

sense of belonging, resonating with the exhibition’s exploration of the 

imperfect nature of dialogue and the quest for genuine understanding. 

www.ivetteramoslevy.com 

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JACKIE MACLELLAND 

The Gossips, 2021 

Monotype, 36” x 27” x 1” 

The Gossips, of course, are a prime example of misapprehension 

and how it can begin. In all the pieces, women are involved with 

a world and a universe that is more complex and complicated 

every day. Three older women stand with open umbrellas — old 

technology in a world that they frequently do not understand. 

In the other piece, a young woman looks down into a universe 

that she seems to have created— and perhaps understands all to 

readily. 

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ROMULO MARTINEZ 

Disconnected from our being (society individual), 2021 

Drawing w/ Colored Pencil, Acrylic Paint, Silkscreen 

and Varnish on Canvas, 90” x 50.5” x 1.5” 

My work follows that endless balance between mind and heart 

and the search for signs to find ourselves through introspection, 

which involves communicating and understanding everything 

that surround us and impacts our feelings and journey. Not 

always we take the chance to interpret others, the sentiment 

and background to their decision and by rushing to get an 

answer we misjudge the way of others. These works portrayed 

circumstances that tells a story behind someone trying to find 

something out there, whether is changing channels to tune 

in (Disconnected from our being), find the strength to move 

forward despite being rooted (Aspirations and their directions) or 

seeing our current society that limit themselves to communicate 

and get together to agree and have valuable conversation like 

the famous see no evil, hear no evil, speak no evil but joined by 

those who want to do them all (Limited liability Society). 

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ROBERTA MASCIARELLI 

_Captain’s_Log_02_2022, 2022 

Assemblage Sculpture w/ Repurposed Materials, 15.5” x 21” x 3” 

“Captain’s_Log_02_2022” vividly portrays a time-traveling 

spaceship captain observing Earth’s transition from recovery 

after COVID to devastation, triggered by the Ukraine-Russia 

conflict that commenced in February 2022. The artwork captures 

the initial sense of hopefulness following the pandemic, which 

is abruptly shattered by the outbreak of a violent conflict that 

profoundly impacts Ukraine’s fate. The mention of a potential 

“Deus-Ex-Machina” event introduces an element of uncertainty 

to the narrative, leaving the captain with unanswered questions 

about Earth’s ultimate fate. He remains distant from the unfolding 

events, unable to ascertain the final outcome. 

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ROBERTA MASCIARELLI 

Sign of Times?, 2021 

Assemblage Sculpture w/ Repurposed Materials, 8” x 8” x 8” 

“Sign of Times?,” examines our growing disconnection with 

reality due to excessive engagement with digital platforms. It 

portrays a human figure bound by chains to various social media 

platforms, including YouTube, Facebook, Instagram, Twitter, and 

references the of the group QAnon, symbolized by the number 

17. 

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TESA MORIN 

Boundaries for Self-Preservation, 2023 

Acrylic + Fabric on Canvas, 14” x 14” 


These pieces are from the Borders/Boundaries series in which 

I explore the ways people, land, and ideas are divided. The 

work often includes ravens as symbols for human behavior. 

For this exhibit, I chose two pieces that specifically deal with 

communication. In boundaries for self-preservation, the fence 

fabric provides protection from angry or hateful words. There are, 

however, gaps in the fence that could allow some of the energy 

to get through. The other piece, the breakup, shows a lack of 

communication. The birds turn away from each other and the 

rain gets in between. The erosion of exchanging ideas and active 

listening causes separation. 

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TESA MORIN 

The Breakup, 2023 

Acrylic + Watercolor on Wood, 12” x 12” 

These pieces are from the Borders/Boundaries series in which 

I explore the ways people, land, and ideas are divided. The 

work often includes ravens as symbols for human behavior. 

For this exhibit, I chose two pieces that specifically deal with 

communication. In boundaries for self-preservation, the fence 

fabric provides protection from angry or hateful words. There are, 

however, gaps in the fence that could allow some of the energy 

to get through. The other piece, the breakup, shows a lack of 

communication. The birds turn away from each other and the 

rain gets in between. The erosion of exchanging ideas and active 

listening causes separation. 

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MICHAEL MULVEY 

Identify My Identity, 2023 

Original on Wet Plate Output w/ Van Dyke Brown and Cyanotype, 20” x 16” 

These works promote a dialog of altering view points and offer a 

depth of understanding or misunderstanding depending on how 

they are viewed. Both use non-traditional practices in output 

in paper and process. Both have ties to analog and digital just 

as the subject matter has ties to decades of perception and 

detection. 

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ANDRIY NEMCHENKO 

Is it Duck Tape or Duct Tape?, 2021 

Digital Drawing on Photo, 12.5” x 12.5” 

My piece represents visual concepts susceptible to multiinterpretation 

and the potential for misapprehension if seen out 

of context. 

“Is it duck tape or duct tape?” inspired by the overheard 

conversation and Maurizio Cattelan’s “Comedian” reveals gaps in 

our knowledge of something that should be obvious. 

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MIKEY PEATTIE 

Was it Me?, 2022 

Gouache and Ink on Watercolor Paper, 12” x 18” 


This pieces relates to the concept of this show in the sense that 

they attempt to convey complex feelings and thoughts that 

are not always easily communicable through words alone, and 

therefore can be easily misunderstood or misconstrued. Its my 

attempt to communicate through visual information the struggles 

and hardships that I have faced/am facing in my life. This work 

serves as catharsis for me, and seek to relate to viewers who may 

have similar experiences in their personal lives. 

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GLENY QUICK 

commūnicāre, 2023 

Video, 1:15 

Is our communication a placeholder for the deep and real? 

Do emojis replace personal and individualized response? 

Has diminished communication dulled us to the human condition 

– or, dulled the human condition? 

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ANASTACIA SADEH 

No Way Through, 2020 

Acrylic, Alcohol Ink and Venetian Plaster on Canvas, 30” x 40” x 1.5” 

I loved the transparency of subject matter in this exhibition- it’s 

a subject that correlates directly with my interests in mental 

health, self-awareness, and it’s effects on human connection and 

communication. It has become apparent to me that people tend 

to meet others only as deeply as they have met themselves. This 

individual-awareness directly affects how people communicate. 

When individual emotional-protection is upheld more vehemently 

that individual authentic-connection, communication is lost. The 

works below explore this. 

“No Way Through” explores the myriad of emotional and 

psychological layers that often isolate individuals from desired 

connection and communication. These layers visually block the 

viewer from the the figure as they avert their gaze. In this work, 

all communication is lost for the viewer and the subject. This 

painting juxtaposes visual references of organic matter (referencing 

generational influences) with rigid, grid like patterns (societal 

influences) in order to emphasize the complication nature of issues 

leading to human isolation of heart and mind. 

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SHAWN SAUMELL 

Divided, 2023 

Photography, 12” x 18” x 1” 

Media, as a powerful tool for shaping perceptions and values, 

has both the potential to promote diversity and inclusion and 

the capacity to reinforce stereotypes and biases. The portrayal of 

race and gender in media can profoundly impact how individuals 

perceive themselves and others, ultimately influencing societal 

norms and attitudes. Whether through casting decisions, 

storylines, or advertising campaigns, media plays a significant 

role in reflecting and sometimes perpetuating systemic 

inequalities. 

Simultaneously, the rapid advancement of technology, 

particularly artificial intelligence and simulation, is blurring 

the lines between reality and virtuality. Virtual environments, 

deepfakes, and hyper-realistic simulations challenge our ability 

to discern between authentic experiences and fabricated ones, 

giving rise to discussions about the “uncanny valley.” This 

phenomenon refers to the eerie feeling we experience when 

encountering human-like entities that fall just short of being 

indistinguishable from real humans. 

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SHAWN SAUMELL 

Sounds of Silence, 2023 


Amidst these transformations, the media landscape has become 

a breeding ground for miscommunication and misinformation. 

Politicians, powerful entities, celebrities, and the wealthy can 

manipulate public opinion with their influence. The distortion 

of truth not only erodes public trust but also undermines the 

democratic process by shaping collective decisions based on 

distorted premises. 

A heightened awareness of the implications of AI, simulation, 

censorship, and misinformation is necessary to safeguard 

the integrity of public discourse and democratic values. By 

critically engaging with these issues, we can strive for a more 

equitable, informed, and resilient society that embraces diversity, 

challenges manipulation, and navigates the evolving landscapes 

of media and technology. 

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SHAWN SAUMELL 

See No Solutions, Hear No Solutions, 

Speak No Solutions, 2023 


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SHARON SHERO 

I Hear You, 2017 

Photography/Photo Montage, 66” x 44” x 2” 


These images are from my series, “Dark Matters | Nigrum 

Tenebrae,” where within each there is a veiled commentary 

that inconveniences the viewer’s first impression. With a wink 

towards Rembrandt’s chiaroscuro rendering, I began shooting in 

my studio at night with a single light source, testing a range of 

settings to find a mood suitable to the subject [dark] matter. 

“I Hear You” presents two women appearing to be gossiping 

and thoroughly enjoying their conversation. The man in the 

background—is he eavesdropping? Are they discussing him? 

Does he have an alternative intention? 

My challenge here is to evoke a sensibility of bewildered 

repulsion tempered with sleight-of-hand humor. 

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JANE CORNISH SMITH 

Misperceived Trans Pie, 2023 

Cold Wax Medium and Oil on Paper, 54” x 37” 

The work I am submitting for “REPRESENT: Misapprehended” 

points to an increasingly divisive discourse that results in violent 

discord—yet with the hope that tribal contention will ultimately 

yield to justice, understanding, and basic human rights. 

“Misperceived Trans Pie”, depicts a transgender individual, 

who is part of a community that makes up roughly 1% of the 

population, with superimposed circular pie-shapes that speak to 

the irrational fear of losing one’s piece of the pie; a misperception 

that the transgender community makes up about 21 percent of the 

population—an engendered false threat and case of innumeracy. 

This work was made with the intent to shine a light on discourse 

gone awry, sadly informed by bias, ignorance, misinformation, fear, 

hate, and suspicion. With light comes illumination, more rational 

dialogue, and the prevailing goodness of the human spirit. 

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IZZY SNEED 

Get a Cuter Booty in 3 Weeks, 2023 

Oil Paint on Canvas, Archive Seventeen Magazine Clippings, 

Journal Entries, Tape Measure, 30” x 40” x 0.5” 

This work is about my experiences in a plus sized body. These 

pieces are not a rejection or acceptance of society’s dialogue 

surrounding fat bodies. The figure interacts with the outside 

media within a liminal space where it is unapparent whether she 

is consuming the ideas or rejecting them. The figures are nude 

and life size. This will force the audience to stare upon a body 

type that is typically rejected, and see how types of diet culture 

media like magazines work out tips interact with the bodies they 

target. 

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JAE-EUN SUH 

Fractured Map, 2022 

3D Scan and Digital Collage, 13” x 19” x 0.5” 

“Fractured Map,” is a digital composition made from 3D scans 

of physical art. The visuals are transformed into various textures, 

resembling scattered puzzle pieces, disrupting their original 

order. This manipulation blurs the sense of time and effort that 

went into them. When viewing these fragments collectively, 

it’s challenging to grasp their intended form. Can anyone 

reconstruct and understand what they originally represented? 

Could some elements have been concealed or overlooked 

during this transformation? This work aligns with the theme of 

‘misapprehended,’ exploring how altered context can lead to 

misconceptions. 

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JAE-EUN SUH 

from:/to: home, 2022 

Video, 7:39 

“from:/to: home” explores the diverse stages of transition and 

change, revealing how these encounters can create feelings of 

confusion or misinterpretation. The concept of home transforms 

over time, no longer resembling the past we recall, instead 

shifting and evolving. This exploration employs visuals, sounds, 

and emotions in each phase, showcasing the intricate nature of 

these transitions. Childhood to adulthood, navigating change, 

and confronting deep thoughts and memories are portrayed 

from different viewpoints, evoking various emotions, sometimes 

overwhelming. This portrayal underscores how life’s transitions 

can frequently be misconceived or not fully grasped due to their 

multifaceted complexity. 

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NARONG TINTAMUSIK 

Underneath the Skin of My Mother’s Clothing 1, 2023 

Acrylic, Collage, Laser Etching on 300 gsm Strathmore Paper, 18” x 24” 

The “Underneath the Skin of My Mother’s Clothing” series captures the 

essence of my mother’s traditional Thai attire. Rooted in Thai culture’s 

animism belief, that all things hold spiritual essence, I explored whether 

these textiles carried a kind of “life.” I started by photographing them and 

using digital tools like Adobe Illustrator and a laser cutter to dissect the 

clothing. This transformed the textiles, revealing new patterns and hidden 

details. The resulting art often echoes cellular forms, symbolizing that even 

everyday objects hold the wearer’s essence and history. This series blends 

heritage and technology, honoring our past’s role in shaping today and 

tomorrow. Through it, I invite viewers to reflect on the stories woven into 

existence, connecting us to our roots. 

My art resonates with the “Misapprehended” concept, depicting the gap 

between first impressions and deeper intricacies. It reflects how people 

perceive the world, often without fully grasping the unique experiences of 

living and non-living entities. As my pieces merge heritage and technology, 

they echo the theme of misunderstanding. They underline the contrast 

between surface impressions and real truths. Ultimately, my art embodies 

the show’s idea, offering a tangible glimpse into the complex nature of 

communication, comprehension, and the potential for confusion. 

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MARILYN WALIGORE 

Aluminum Blue Fish #12, 2023 

Archival Pigment Print, 40” x 32” 

Through my artwork, I explore the powers of attraction and repulsion as I 

reflect on questions relating to sustainability. These photographs document 

objects that are assembled to create sculptural forms. In my photographs, 

I have constructed these undersea worlds to reference our impact on the 

environment, using aluminum packaging to describe aquatic creatures. At 

first glance, these images appear to represent an underwater space filled 

with forms that resemble fish. However, upon closer examination these 

images reveal a less than ideal, troubling arena where natural forms have 

become intertwined with detritus. The idea of misapprehension corresponds 

to our limited view of our vast oceans, where ongoing changes often occur 

beyond our notice. My transformation of aluminum detritus into monstrous 

and fantastic sea creatures alludes to the contrast between our disregard for 

the environment and our simultaneous dependence upon it for our survival. 

Aluminum packaging becomes symbolic of our use of natural resources as the 

images suggest fanciful options for the recycling of post-consumer waste. I 

affirm the materiality of objects that we tend to “delete” from our visual field, 

despite their prevalence in our urban environments. Collected during walks in 

my neighborhood, this litter can be described as the “trash of trash.” I hope to 

encourage an embrace of the potential actions of reduce, reuse, recycle, and 

conserve, while fostering reconsideration of our daily habits, and their eventual 

global impact. 

49


GORDON YOUNG 

Its Enough to Make Me Scream, 2020 

Collage, 7” x 6” 

This piece is a collage based on how through the combination 

of unrelated images and texts, taken from a variety of sources, 

the artist brings new meaning to both. The texts and images are 

constructed formally which, at times, adds a new tension and 

confusion to the resulting piece. Even though the artist has no 

preconceived meaning to the combinations the viewer will give 

meaning to the resulting work through the clues provided by the 

artist. 

50


SHARON ZIGROSSI 

Beauty in the Cracks, 2023 

Found Objects, 8.5” 

Misapprehended - what we see and our preconceived value of 

the objects used in the artwork Beauty In The Cracks. If you saw 

the materials of this art piece gathered in a pile; the bottle caps, 

hearing aid batteries, produce plastic netting, yarn, a plastic 

wheel and a found car part, you would not see beauty or art. 

But allowed to be assembled and interpreted in a different way 

Beauty In The Cracks could change one’s view of the objects that 

were destined for the landfill. Others might recognize the found 

objects and not appreciate or take a leap in thought to see this 

gathered assemblage of materials as a work of art. 

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ACKNOWLEDGMENTS 

The 2023 Visual Culture: REPRESENT! Series juried exhibition Misapprehended 

came from the vision, efforts, and support of many people. I want to thank our 

juror, Enrique Fernández Cervantes, who conceived of a compelling exhibition 

theme and has devoted so much of his time and expertise in jurying and laying out 

the exhibition. For her work in making every step of the exhibition run smoothly— 

from helping plan the event to installing the work and creating this booklet—I’d like 

to thank Cher Musico, our Technical Director and Gallery Manager. Thank you also 

to alumni, Andrea Sparks for designing the Misapprehended graphics and graduate 

student Alyssa Cox for assisting in installing the work. I’d like to also thank Colby 

Parsons, our Visual Art Division Head, for first conceiving of the juried exhibition 

series in 2020. Finally, thank you to our Misapprehended exhibition artists who 

have produced thoughtful, amazing work. 

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Brought to you by Texas Woman’s University’s Visual Art 

Department, the BA in Art (Art History & Visual Culture), and the 

MA in Art ( Art History & Visual Culture) Program 

Texas Woman’s University 

Division of Visual Arts 

Fine Arts Building, East | West Galleries 

302 Pioneer Circle, Denton, TX 76209 

56 

twu.edu/visual-arts // @twuvisualarts 

FALL 2023

Misapprehended - Fall 2023 - Visual Arts

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