Soup’s not so scary, right? A broth with some chicken, maybe a few carrots and celery and voila! — a simple and non-scary cure-all for the common cold.
But then there’s a witch’s brew, stirred up primarily around this time of year, composed of bat wings, spider webs, eye of newt and other slimy things, all thrown into a boiling cauldron of who-knows-what kind of liquid.
But squash soup seems to fall under the former category — a yummy, velvety, cold-weather staple with autumnal flavors of nutmeg and cinnamon.
Nothing scary about that.
Unless you’re talking about “Squash Soup,” a pleasant fall-themed art display that, for the rest of its run, will be infused with spooky and kooky creations.
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Nashville North Studios is where it’s all happening: “Squash Soup,” its current show, now welcomes “Boo Y’all,” a Halloween-themed pop-up art exhibit of all-things creepy that seamlessly meshes with paintings, sculpture, jewelry and more art dedicated to happy orange pumpkins, fallen leaves and multi-hued sunsets.
“It is a melding of the two exhibits — keeping some of the ingredients and yet adding a little spice to the ‘Soup’ with ‘Boo’,” says Judy Saylor Allison, co-owner of Nashville North Studios, of the shows that both end on Nov. 3. “So it adds an element for the Halloween season — and some of it is scary.”
In Boo Y’all, terrifying images of the Jersey Devil can be viewed. As can James Melonic’s rather tumultuous nature painting titled “The Fall.” On the flip side, artists like Grace Zambelli include more whimsical Halloween images of kids dressed up as fairies and witches in “Out of Candy.”
Then Elise Cashman Bond, whose already-beautiful series of long-ago Hollywood leading ladies, just got even more gorgeous with her striking painting of screen legend Marilyn Monroe.
However, Bond’s portrait isn’t your average picture of this blond bombshell. In “No Way Out,” Monroe is enclosed in barbed wire and surrounded by black crows, traditionally a symbol of imminent death.
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“When I decided to paint Marilyn, I was determined to find a photo that reflected who she really was underneath it all. I finally came across the picture this painting is based on. The ideas for the background came flooding into my thoughts. Before I began to paint, I spent a good 20 minutes with the photo. I wanted to understand what she may have gone through in her life,” says Bond. “By the end of the 20 minutes, I was overwhelmed with a sadness and conviction to reveal that in the painting. This was by far the most meaningful and emotional painting I have done as of yet.”