Mary Ann Peters’ exhibition, “the edge becomes the center,” at the Frye Art Museum in Seattle delves into suppressed histories and forgotten diasporas. The Lebanese-American artist’s first solo museum show features her drawing series, “this trembling turf,” along with a site-specific installation. The drawings, created with white ink on black clayboard, showcase intricate and abstract geomorphic abstractions. Each piece in the series is titled with the series name followed by a unique subtitle, adding depth and complexity to the visual narrative.
One of the standout pieces in the exhibition is “(the hollow)” from 2021, where short, fine dashes swirl and rotate towards a large dark void, creating a sense of movement and depth. Another notable work is “impossible monument: gilded” from 2024, a vertical rectangular chamber filled with symbolic objects obscured behind a mesh-like fabric grid. The objects, including ribbons, keys, and laminated survival blankets, are seen through a dim yellowing light, evoking a sense of mystery and hidden meaning.
Peters’ artwork explores themes of displacement, migration, and loss, drawing on her own Lebanese heritage and the experiences of refugees around the world. The exhibition invites viewers to contemplate the profound and difficult human experiences that are often unseen or overlooked. While the abstract imagery and symbolic objects offer tantalizing glimpses into these themes, the enigmatic nature of the work leaves room for interpretation and reflection.
“Mary Ann Peters: the edge becomes the center” is on display at the Frye Art Museum in Seattle until January 5, 2025. The exhibition, organized by curator Alexis L. Silva, offers a thought-provoking exploration of historical trauma and resilience through a unique artistic lens.
