Twilight of Doom

Holy Cross artists monkey with the menagerie

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Looking to unhinge your imagination? Try feeding the mushroom-headed falcons at the College of the Holy Cross.

They’re perched in the Cantor Art Gallery across from a genetically engineered blue-eyed mouse as part of an exotic menagerie of hybrid creatures created by seven artists for a gorgeous yet disturbing exhibit that’ll make you rethink your place on the food chain.

Organized by Assistant Professor Cristi Rinklin, “Zoologia Fantastica” cross-pollinates artistic creativity and animal husbandry with provocative results.

For the first show she’s curated, Rinklin invited seven artists to submit pieces that “address aesthetic and ethical issues concerning the conflicting nature of the human/animal relationship.”

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The artists, including Brian Burkhardt, Mary Kenny and Amy Ross, all from Boston, submitted works in varied media such as video, painting, photography, animation and sculptural installations. Taking dramatically different approaches, they challenge our preconceptions about humanity’s place in the natural world through unconventional works that use materials unconventionally.

“I hoped to bring together artists whose work explores a pertinent issue: our relationship to the natural world,” said Rinklin, head of the college’s Studio Art Division. The exhibit runs through April 5.

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Rinklin said the exhibit reflects her interest in the “magical realism” of Argentinian author Jorge Louis Borges, whose anthology “Manuel de Zoologia Fantastica,” or “Book of Imaginary Beings,” showcases mythological creatures invented by Homer, Confucius, Shakespeare, Kafka and C.S. Lewis.

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“The whole show brings up a variety of contemporary issues,” said Rinklin. “By imaging hybrids, these artists are asking, ‘What if?”‘

What if, for example, Winnie the Pooh visited “The Island of Doctor Moreau” ? What if lab technicians regulated natural selection? What if self-portraits were made from road kill instead of oil paint?

That’s largely what happens in this exhibit, said Rinklin, when “a small cross-section of artists…use beauty, both abject and exalted, to tap into our fears and fantasies of the animal world.”

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Porky pig

The seven artists’ works are captivating, unsettling and outrageous. While there’s no shared message, their imaginary creatures invite visitors to let their imaginations soar, and seem to suggest we stop messing with Mother Nature and avoid lamb chops from Dolly the cloned sheep.

In four short films titled “The Hunt,” Kenny employs stop animation techniques to reinvent an elemental tale about Eskimos hunting seals in the Arctic that’s both funny and poignant. Her films supply the emotional impact of Inuit folklore in which hunters and their prey are locked in a life-and-death struggle. But by using commonplace objects, like a plastic Eskimo figurine or a bed sheet to represent the ocean, Kenny forces viewers to question what they’re seeing by recasting faux folktales so they look like something from “South Park.”

Unsettling because they’re so real, Catherine Chalmers’ large-format color photographs of “Genetically Engineered Mice” raise profound questions about causing mutations in lab animals for medical experiments.

She photographed mice from the Jackson Laboratory in Bar Harbor, Maine, in extreme closeup that reveals eerie blue eyes, deformed limbs and twisted tails and albinoism. While the New York-based artist acknowledges the benefits of medical research, viewers are likely to contemplate the consequences of genetically engineered “fluorescent fish” created by Taiwanese scientists or even Dr. Josef Mengele’s experiments at Auschwitz on human subjects.

In an imposing 8-foot-wide triptych, Kelli Scott Kelley has created a surreal landscape part Hieronymus Bosch, part Field & Stream magazine in which humans and animals seem trapped in apocalyptic combat.

Constructed like a Renaissance altar piece, Kelley’s work, “The Allies,” seems to offer a glimmer of hope despite macabre scenes of human-animal warfare. In the 6-foot-tall central panel, a coterie of animal protectors shepherd a barefoot woman with horns beneath a lurid yellow sky where a floating skull shines like an angry sun.

An associate professor of painting at Louisiana State University, Kelley said she “appropriates images” from her son’s picture books and popular culture. Populating her triptych with vaguely familiar archetypal figures, Kelley might be dramatizing the Fall from Eden for 21st century viewers. Several artists are showing works made from unconventional materials that jar viewers …

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