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resents is very clear. The swastika is an abstraction but thetworld it in- * vokes is not. The power of a symbol lies in just this relationship it has to a reality. I found the abstract sculpture “Upward and Outward” by Jeanne Drevas interesting in itself, but symbolic of nothing beyond itself. A symbol needs to be more than just suggestive, it must trigger an experience. Likewise with the grotesquely evocative work “The Seventh Moon” by Dianne Waldron: it doesn’t open up a world.
The borrowed symbol is one which has been lifted out of its native setting and transplanted into another. Easy enough to do, and tempting, I suppose, since other cultures seem to be richer in symbols than one’s own, but the inevitable consequence is that the symbol, robbed of the cultural reality which confers its power, becomes a lifeless object. Two classic examples of this sterile symbol-stealing are the glass pyramids of Teri Freebome and the feathered mask entitled “CounterConservation with Road Kill” by Joel Hoyer.
Pyramids are not universal symbols, they are the products of some few particular cultures and the reali
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