‘More Than Meets the Eye’ exhibit at Belger Arts twists the mind with hyperrealism
Charles Bell, Gumball No. 6 (1974) Oil on canvas, 54 x 50 in. // Image courtesy of Belger Gallery
In a world where perception shapes belief, More Than Meets the Eye invites viewers to reconsider the everyday. This exhibition, which went on display on June 6 at the Belger Crane Yard Gallery, challenges us to slow down, look closely, and question what we think we know about ordinary objects. By reimagining and repurposing familiar items, the artists prompt a deeper awareness of how we assign value and meaning to the material world around us.
When a common object is placed in an art context, our expectations shift: What was once invisible in daily life suddenly asks for attention. What does this object mean now? What does it reveal about our memories, identities, or the systems we live within? Through this transformation, the exhibition opens a space to reflect on how even the most mundane items can carry emotional resonance and speak to broader social narratives.
Artists like Cortney Boyd, Eriko Kobayashi, and Dylan Martinez use hyperrealism to reconstruct objects with exacting detail, blurring the line between reality and illusion. In addition, artists such as Stephen Morrison, Logan Reynolds, and Gina Pisto emphasize the artifice, drawing attention to the surreal, humorous, or symbolic qualities of their work.
Together, these works explore how objects, so often overlooked, can become gateways to self-reflection, social critique, and even playful wonder. More Than Meets the Eye asks viewers to find connection and meaning in the everyday and to discover a sense of whimsy within the ordinary.
More Than Meets the Eye combines the legacy of the hyperrealism and photorealism movements of the late 20th century, which pushed the boundaries of visual perception. Rather than merely replicating reality, artists within these movements used everyday objects to evoke deeper emotional, cultural, and symbolic meanings.
Charles Bell, Gumball No. 6 (1974) Oil on canvas, 54 x 50 in. // Image courtesy of Belger Gallery
The exhibition features key historical figures including Charles Bell, known for transforming commercial items into glossy icons; Marilyn Levine, whose ceramic works convincingly mimic leather goods; and Renée Stout, who infused hyperrealism with layered personal and cultural narratives. Artists like Bonnie Seeman, Paul Dresang, and Misty Gamble extended these techniques into ceramics, blending technical mastery with humor and social commentary.
Together, these pioneers laid the groundwork for contemporary artists who continue to explore how hyperrealism can help us reinterpret and reengage with the world around us.
Moving beyond historical context, artists bring personal vision and innovation to the movement. Eriko Kobayashi, for example, uses a technique called hot casting to turn everyday objects, especially food, into hyperrealistic sculptures. By recreating classic food items like pizza and Pop-Tarts, she taps into a universal sense of joy and nostalgia that transcends cultural boundaries.
“It’s simply the food that surrounds me every day in the United States. Because it’s so familiar to many people, there are countless stories behind it. I want my work to feel age-neutral, something anyone from age three to 100 can enjoy,” Kobayashi explains.
Her work invites a wide range of emotional responses, as viewers bring their own experiences and memories to what they see. “I believe my pieces reflect not only happiness but a range of emotions. The context in which I present the food allows for a diverse emotional response,” she adds.
The gallery creates meaningful connections between these contemporary voices and the pioneers of hyperrealism and photorealism by staging visual dialogues across the exhibition. Works from the gallery’s permanent collection are thoughtfully positioned alongside those of current exhibiting artists, creating rich visual and thematic conversations.
The exhibition thoughtfully stages artworks side by side based on visual similarities, inviting viewers to look closer and discover striking contrasts in meaning. For example, a delicate vase by Gina Pisto is displayed next to Bonnie Seeman’s vase. While both incorporate natural motifs, their emotional tones diverge: Pisto’s work evokes themes of death and ritual, reminiscent of an altar, whereas Seeman’s works celebrate the vitality and reverence of life.
Logan Reynolds, Niente (2024)
Earthenware, glaze, gold and white gold luster, 3 x 24 x 8 in., Created in Kansas City, Kansas, image by Delaney Rockers
Similarly, Logan Reynolds’ crushed gold trumpet, titled Niente, is paired with a painting of a crushed gold Miller Lite can. At first glance, the two share a visual echo, but a deeper look reveals their distinct narratives. Niente, a musical term meaning “to nothing” or “fading away”, reflects Reynold’s personal memory of playing trumpet in middle school and the quiet pressure of growing up under social expectations. The juxtaposition of these pieces emphasizes how similar forms can carry profoundly different emotional and conceptual weight.
Other works by Reynolds, such as Toolkit, further explore personal and social themes: “Toolkit addresses ideas of daily personal needs based on observations from bustling environments such as a university campus or busy street. I’m interested in analyzing the many layers of factors that contribute to making things function, with special attention to the human components,” says Reynolds.
On the opening day of the exhibition, there was a replicated version of Cupcake by artist Stephen Morrison that was created out of cake by Natasha Mulberry and Mott. Morrison’s work like Cupcake function as characters in a larger imagined world, reflecting Stephen Morrison’s evolving artistic vision.
As he explains his work Cupcake in relation to his larger exhibition work, “I was expanding from single pieces into a more fully realized world with characters and narratives. What started as a playful exercise turned into a kind of alternate reality, populated with these strange yet emotionally resonant beings.”
Within this constructed reality, Morrison draws attention to the overlooked and mundane, transforming everyday objects into surprising figures.
“A stapler or a donut is just meant to blend into your desk or your day. But when I insert them into an installation or a domestic space and give them a dog face, I want that oddness to sneak in slowly. I want someone to double-take, look closer, and feel that moment of surprise,” Morrison continues.
Stephen Morrison, Cupcake (original work), Replica created from cake by Natasha Goellner, owner of Mulberry and Mott. // Image by Delaney Rockers
The exhibition strikes a perfect balance between playful levity and thoughtful precision.
The artists embrace humor and whimsy, leaning into the joy of creating illusions, while also demonstrating the incredible skill and intention behind each piece.
You don’t need to read an essay or analyze a concept to enjoy the stunning visuals. There’s immediate delight in what you see.
As Morrison notes, “I think there’s value in something being funny or delightful on its own terms.”
While the works often hold deeper personal meanings, they’re never weighed down by seriousness. Instead, they highlight how illusions, like great art, are the result of both imaginative play and meticulous craftsmanship.
The exhibition seamlessly weaves together pieces from the hyperrealism movement and works by artists influenced by it, showcasing this thoughtful yet lighthearted approach.
More Than Meets The Eye will be on display at Belger Crane Yard Gallery until Sept. 6. More information can be found on the organization’s website.
