If these works exemplify the range of possibilities available to the artist who chooses to work in a representational mode, Kim Dingle‘s My Struggles With Jesus (1995) comes the closest to delineating the purpose behind such a choice. One of the exhibition’s few notable three-dimensional works, this installation features six handmade Jesus dolls lined up on a small couch as though for a child‘s tea party -- each with a different color of skin or hair -- with the pieces of an uncompleted seventh lying on the rug at their feet, as though abandoned in haste.
The remarkable thing about this work is its simple, heartbreaking earnestness. This is how we move through the world, it suggests: sorting through a paltry assortment of materials, images, words and notions, trying to piece together some object that resembles a reliable truth. Each work in this show is, in a sense, one such object.