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Emblems of the Enigma

By Emma Renda

Trumpets await you when you enter the room, but they are not
sounding their alarm. They are silent and still, and long drops of
what may be blood is spilling from their mouths.
This is the first impression of Vessna Perunovich’s exhibit
Emblems of the Enigma, now open to the public at Cambridge
Galleries.
The piece “Silent Cries” is set directly inside the doors of the
gallery and greets patrons poignantly. Two fire engine horns are
mounted on a weathered door and spilling from each is a red
leotard, stuffed with sand that weighs them close to the ground
and clusters in a bulb that gives the impression of a tear drop.
“I worked on a series that was called “Home Project” in 1999
when I was dealing more with personal issues around intimate
relationships and home violence,” Perunovich said. “I was
collecting different objects that related to home and one of the
objects I picked up was a front door. Entering the gallery is a
world, a home, and that’s why it’s there.”
If there were a better opening to Perunovich’s exhibit of
mixed media, including sculpture, print and video, she hasn’t
made it yet.
Perunovich is a symmetrical artist in every respect. Her
colours never stray from the red, white and black basics. Her
pieces are always balanced, if not proportioned. But it is the
thoroughfare of equality among people that sets the real
standard for symmetry.
The first noticeable pattern is Perunovich’s colour scheme, a
blend of no more than shades of black against white, starkly
contrasted with red exclamations working their way into each
piece. The red is Perunovich’s punch line – she said it happens
naturally because it is related to so many different aspects of life,
from passion to violence.
“In my earlier work, I dealt a lot with intimate relationships
and a lot of that had to do with violence and passion and the

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