Light, darkness and depth to mull over


The fact that visual art has the ability to communicate beyond words, almost in ‘another language’, gives it almost always the emotional edge when the subject is about painful issues or about the deeper human condition.

In this regard the fine, blue stitches of surgical thread, barely visible in Eunice Geustyn’s work of mixed media, are acerbic metaphors of the injured lives of raped and murdered women that she uses as a theme.

Where the needles are sometimes still visible in the picture, it reminds the viewer of how difficult it is to heal a community where such crimes have occurred.

On the gallery floor is a strip of sand and medical jars to remind us of the many neglected and abused children, like debris from the sea that we step over. As with the thin surgical thread, these glass vials are a stronger reminder of vulnerability than words can ever be.

Her piece, “when is enough enough”, consists of old style wooden markers with names – like at funerals. Women’s lives ruined and packed away.

Although Jill Trappler’s paintings which makes up the other half of this double exhibition, looks in their abstract style as if it belongs to another world than that of Geustyn, it maintains the same argument: physical presentation as a different multilingualism. Here the title of the Exhibition. “Half- light”, is very becoming.

Deep in the darkness of her linen boards, or even those anchored in white can the viewer sense light, darkness and depth. All is not what it seems at first glance. The viewer gets tested, cerebrally mesmerized, urged to decipher the story or message.

Trappler’s art has elements that one can read as a metaphysical presence and which is the hallmark of traditional and outstanding abstract art.

These huge paintings presents some of the strongest that she had done in a while. In their blatant presence they contrast perfectly with Geustyn’s poignant and inflammatory presentations.