As the holiday season wraps us in its warm embrace, many of us find ourselves reflecting on the age-old question: Where do we truly belong? Craighead Green Gallery in Dallas is tackling this profound inquiry head-on with its latest exhibition, opening just in time for those introspective winter days. But here’s where it gets intriguing: three artists, each with wildly different styles, are converging on this shared theme of belonging—and the results are as thought-provoking as they are visually stunning.
From December 6 through January 10, the gallery will showcase the works of Faith Scott Jessup, Linda McCall, and Damián Suárez, all exploring themes of heritage, personal history, and the role of imagination in shaping our identities. While their artistic approaches span realism, impressionism, and abstraction, their collective exploration of belonging creates a dialogue that’s both intimate and universal. And this is the part most people miss: how these artists, despite their distinct backgrounds, weave a common thread of humanity into their work.
Gallery director William Bardin emphasizes the intentionality behind pairing these artists. ‘We want each artist to have their own platform,’ he explains, ‘but there’s a unifying narrative here. They’re all deliberate in their choices—whether it’s the stories they tell, the colors they use, or the images they create.’
Take Damián Suárez, for instance. Based in Mexico City, Suárez’s ‘Kinetic Landscape’ series pays homage to the Venezuelan artists who inspired him, but with a twist. Instead of paint, he uses thousands of thin threads wound across wood panels to create fields of shifting color. ‘It’s almost like a moire effect,’ Bardin notes. ‘People expect stripes, but they’re amazed to discover it’s all thread.’ Suárez spent two years perfecting these pieces, blending craft, mathematics, and emotion into a body of work that’s as technically impressive as it is culturally rich.
Faith Scott Jessup, based in Denton, brings a surrealist touch to the exhibition. Her ‘Duets’ series features floating leaves, patterned fabrics, and natural motifs that blur the line between reality and imagination. One standout element? Empty dresses, meticulously painted and draped, that seem to ask: Who might have worn this? And what does it say about identity? Jessup’s work invites viewers into a visual conversation, rooted in her ongoing dialogue with the natural world and its boundaries.
In a more secluded section of the gallery, Linda McCall presents ‘Rituals,’ a series of impressionist scenes shaped by memory and mood. Her paintings depict solitary figures—walking, sitting, or moving through soft-edged landscapes—each capturing private, intimate moments. ‘These are scenes of quiet reflection,’ Bardin explains, ‘whether it’s someone walking alone on a street or sitting by a river in Venice.’ Unlike Jessup and Suárez, whose works share thematic correlations, McCall’s pieces stand alone, emphasizing the theme of privacy and solitude.
While the exhibition isn’t explicitly tied to the holidays, its themes of belonging and storytelling feel particularly resonant this time of year. But here’s the controversial part: Does art about belonging risk becoming too personal, or does it universally connect us? Bardin believes the latter. ‘Sharing stories, whether with family or old friends, is what makes us human,’ he says. ‘This exhibition is a celebration of that shared humanity.’
So, as you gather with loved ones this season, consider this: How do you define belonging? And do these artists’ interpretations align with your own? Let us know in the comments—we’d love to hear your thoughts.
Details:
Craighead Green Gallery, 167 Parkhouse St, Dallas. Free admission. December 6 – January 10.
Arts Access is a collaborative journalism initiative by The Dallas Morning News and KERA, funded by the Better Together Fund, Carol & Don Glendenning, City of Dallas OAC, The University of Texas at Dallas, Communities Foundation of Texas, The Dallas Foundation, Eugene McDermott Foundation, James & Gayle Halperin Foundation, Jennifer & Peter Altabef, and The Meadows Foundation. Editorial control remains with The News and KERA.
