Editor’s note: Brett Colley is a professor in Grand Valley State University’s Department of Visual & Media Arts. The opinions expressed in this piece are his own.
“Pétalos De Cambio” is a mural – inspired by accounts of femicide, homophobia and transphobia in Mexico – that questions the position of the church, as well as other systems of power, relative to these tragedies.
The work was completed as a senior project for GVSU’s studio art program, and first displayed in the Performing Arts Center Gallery during the Winter 2024 semester. It was then purchased by the University’s Art Museum for their permanent collection, in recognition of its visual and conceptual merits. The museum has a long history of purchasing exemplary artwork from student exhibitions, which are proudly displayed across our campus. In the summer of 2024, the mural was installed in the Kirkhof Center, where it resided until Feb. 4.
“Pétalos De Cambio” is also a work rich with symbolism some find offensive, the purchase and display of which some consider evidence they’re unwelcome on campus and which has motivated some to protest its very existence. Those engaged in protest, principally members of GVSU’s Catholic student community, have provided quotes to various news sources asserting unequivocally that the mural depicts violence toward Mary, a figure sacred to several faith communities, and has no other possible interpretation.
To be sure, this work was not created as idle decoration, but to promote dialogue. Yet no one can assert their interpretation of “Pétalos De Cambio” as incontrovertible – not even the artist themself. In general, the language of visual art is not comprised of symbols we’ve all agreed upon, like A-B-C or 1-2-3. Rather, it uses metaphor, color, expressive typography and the proximity, separation, scale and repetition of formal elements to communicate in ways distinct from other modes of expression. The possibility of multiple meanings is central to its power. Likely those reading this letter have never confused a poem for a scientific essay or a pop song as an instructional recording. In a similar sense, “Pétalos De Cambio” is not a diagram.
One symbol from the mural that has incited considerable concern is an “X” over the face of a figure in the far right panel. This figure may represent the church, victims of femicide or even serve as an avatar for the viewer. In figurative works of art, there is often conceptual space to identify as both subject and spectator. Is the “X” representative of blindness, rejection or some form of erasure? It could be anyone or all at once. Is the blindness willful or simply ignorant? Who or what is erasing them? Is this an expression of sadness, wishfulness or some other sentiment more complex? It may be all of these.
Elsewhere in the composition a gun is depicted, floating in space. Who does it belong to? It appears close and may invite us to hold it. Is it ours? Is the gun pointed at the figure or does it serve to represent violence more broadly, referring to events not visible in the work? It could be either and it could change tomorrow, depending upon world events. The mystery is intentional and key to the work’s effectiveness in generating discourse.
As one last exercise in the polysemy of art, consider a typical depiction of the crucifixion: there is no clearer example of an image intended to communicate multiple meanings. For millions, it simultaneously symbolizes death and life, hate and love, violence and peace, betrayal and forgiveness. In one moment, a devotee may identify with Christ Himself, the martyr, in another as a beneficiary of His sacrifice and in another as the one to pierce His side. A crucifix means different things in different contexts, at different stages of one’s spiritual journey and certainly to people of other belief systems/faith traditions.
As useful guidance toward understanding “Pétalos De Cambio,” the artist has shared several hundred words of label copy, describing the work’s inspiration and underlying ideas, and curators at Grand Valley have added further detail. Still, questions over its specific symbolism remain forever open, all translations available. Anyone can have their own, but it is not The Truth.
All that said, it seems as though no number of possible interpretations is sufficient to assuage those who describe being offended by the work and demand it be removed from GVSU’s collection. Even after several meetings with Grand Valley leadership – who sought to assure these students of the University’s respect for them, provided background behind the mural’s acquisition and added context to its display – the complainants elected to take their indignation to state lawmakers for validation, and later staged a rally, even after “Pétalos De Cambio” had been moved from Kirkhof to storage (under threat of its destruction and physical harm to GVSU administrators). At this point, their actions appear motivated less by specific symbolism than an unwillingness to accept and respect its portrayal of Catholicism in a critical light* and the University’s decision to support the free expression of that perspective.
*It should be noted here that the national Catholic organization, TFP Student Action, who circulated a petition in support of the mural protesters, are openly, aggressively anti-queer.
I would not presume to tell anyone else what they feel or don’t feel, just as I cannot assert what an artist truly meant to say. Yet, I find it hard not to see the protest as part of a larger, troubling national trend wherein some belonging to historically/statistically majority groups (ex. white, male, cisgender, Christian) express feelings of oppression, just as others from historically marginalized communities enjoy progress toward greater representation and visibility. For example, through a mural that integrates Spanish text to raise awareness around the violent oppression of women and queer folks in the Global South.
I fully admit my struggle to imagine why a member of the GVSU community would unironically claim to feel unwelcome on the basis of their Christian faith. Our campus is so representative of West Michigan, a region where more than two-thirds of the population identify as Christian, the majority Catholic. Though we are not Aquinas, Calvin or Hope, the names of conservative Christian donors adorn numerous buildings, a stark reminder of their values. Laker Catholic and many more Christian faith-based organizations are supported by the Student Senate through funding opportunities and other resources.
Off-campus, I am reminded of the dominant role Christianity plays in our culture by the frequency of church marquees, faith-based non-profits, pro-life billboards and a news cycle teeming with stories about conservative policies that seek to undermine the rights and protections of queer folks, book-ended by updates on the health of Pope Francis, a religious leader who wields almost unimaginable global influence and power. A Christian faith system is clearly the presumed context for life here (yesterday, both Google and a GVSU email reminded me that I’m writing this during the Season of Lent) and to identify as an adherent of that faith is to enjoy the privilege of overwhelming representation and ideological leverage.
Concurrently, my classes include individuals who have long felt reluctant to share their preferred names, gender identities, who they love and what they believe for fear of violent backlash from the culture described above – who often struggle to find safe spaces and community at GVSU. Many have shared that religious institutions (including the Catholic church) have been complicit in their oppression. Works of art such as “Pétalos De Cambio” – though focused on transphobia, homophobia and femicide in another part of the world – represent an important structural critique on their behalf. Its display symbolizes Grand Valley’s respect for them.
Thankfully, over the past few decades the cultural terrain has shifted and many of those historically suppressed are less afraid to share their voices, though sadly such modest gains must be continually defended and deliberately preserved. I’m proud to work at a state school that attempts to uphold the ideals of a liberal education, which encourages and thrives on multiple perspectives and values diverse voices. We flourish when listening to and learning from communities outside our own. Our strength is in our pluralism.
And so I am profoundly disturbed that Grand Valley students who benefit from immense privilege (and can surely understand that art sometimes holds more than one meaning) would declare an expression of our rich pluralistic community (and a vital critique of systemic oppression) a threat to their own status and sense of belonging and persist in a campaign to have it removed or destroyed – a campaign that has disrupted the life of another student in the process.
When you vociferously declare an artwork is “blasphemous,” an “abomination against God” and share those allegations on social media, you bring pain and pressure to bear on the artist – a fellow Laker – in a manner reckless and lacking compassion. It is one thing to direct your ire at GVSU administrators, but to publicly expose a peer to the vitriol of self-righteous zealots is, in my opinion, immoral.
Please stop. Stop and consider whose stories and perspective it is you’re seeking to censor. I recognize that among the most challenging things in life is to admit that one may have errored, or to course correct when one has committed fervently toward an idea only to experience a change of heart and mind. Few things are more humbling, but at this time in our nation’s history, nothing would be more meaningful.
Respectfully,
Brett Colley, Professor
Department of Visual & Media Arts
