Helena Connelly ’29
Guest Writer
On February 3rd 2026, the Cantor Art Gallery highlighted the wonderful talents of Holy Cross’ visual arts department with the opening of the Impetus show. The gallery features work by Rachelle Beaudoin, John Carney, Marcus Clarke, Hilary Doyle, Colleen Fitzgerald, Matthew Gamber, Anna McNeary, Victor Pacheco, Cristi Rinklin, and Leslie Schomp. The largest piece showcased was Christi Rinklin’s “Here After” which depicts a limitless landscape with an animated spirit and everchanging essence reminiscent of the human body. Rinklin’s use of reds and earthy tones calls to mind the organicism of internal organs, suggesting that the Earth and body are interconnected. The abstract nature of the work within the blurred images and shapes evokes chaos and decay in the somewhat recognizable forest setting. The processes of erosion and decomposition remain constant through the fungal and anatomical imagery. The piece promotes a big picture representation of the cyclical nature of life through the illustration of decay and renewal processes. Standing in front of the piece gives you a real sense of its intimating presence, as the 16’ by 20” canvas offers hundreds of elements to look at and interpret. These larger than life pieces are my personal favorite as they allow you to be completely swept up, transporting you to a whole new world. However, the gallery also displays some smaller but alluring pieces such as Hilary Doyle’s Maria Sibylla Merian series. These acrylic panels depict Maria Sibylla Merian, a famous German naturalist, in different phases of her life, emphasizing a woman’s journey of aging, discovery, love, loss, and connection. Her take on Merian and her daughter drawing in Surinam is quite compelling as it captures a mother-daughter bond through art. The teal and blue colors that dominate the painting are evocative of a melancholic state broken up by light through the storm and the feminine pinks in their clothes. The cool tones establish a tone of seriousness and professionalism tied to Marien’s career. Contrary to this dynamic, the pinks and whites that cut through the somber feel express a softness and nurturing aspect within the piece. This marriage of color presents the duality of Marien’s immersion in nature and professionalism alongside the warmth and care that comes from motherhood. This scene is extremely memorable as it paints motherhood as an intellectual partnership. Through her unique presentation of their relationship, Doyle allows for the daughter to shine just as bright as her successful and professional mother, revealing the pure love and genuinity of their bond. The gallery also gives a space for sculpture and interpretive art such as Anna McNeary’s Untitled (Certainty), a piece that explores uneasy emotions through a direct medium. The textile’s messaging is both consistent and abrupt as the pattern reads as a continuous surface. From afar the piece seems fluid and unified, yet up close, the stark contrast of black and white grids reveal the fragmented reality of the work. This coexistence elicits a kind of discomfort in the repeated “Certainty,” calling the viewer to sit with the word and its meaning. The repeated visual takes the viewer on a journey that starts with security in affirmation but ultimately leads to the agony of obsession. All the pieces in the gallery fit with its title, Impetus, as every work develops a sense of movement through their respective mediums. This specific exhibition is truly a great show of talent by our very hardworking and skilled visual arts faculty and I would recommend for everyone to check it out before it closes April 8th!
Featured image courtesy of the Prior Performing Arts Center
Copy Edited by Sophia Olbrysh ’28
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