V. L. Cox
Cox’s work fearlessly reflects systems of hatred and how they diminish our society. These iconic works are part of The End Hate Collection that will be on display at the Gallery. One of the series in the Collection lays hate bare in direct terms that bring to mind some of the work of Alabama native William Christenberry who also explored the Ku Klux Klan through art.
Sharon Killian, president of the Board of the Fayetteville Art Alliance says, “A Murder of Crows: The End Hate Collection fills a critical space in US history and society today where there is a boastful peeling back of layers to reveal the people behind the systems of hate that have plagued us.”
About The Artist
V.L. Cox was born in Shreveport Louisiana and raised in Arkansas. She acquired a Bachelor of Fine Arts degree from Henderson State University in 1991. Cox comes from a long line of artists. Her father was an illustrator and engineer, and her great grandmother from Old Washington, Arkansas, was a painter who graduated in 1909 from Lindenwood College for Women in St. Charles, Mo. with a degree in fine art. Her work is now in the permanent collection of the Historic Arkansas Museum. Interesting enough, the Museum acquired a piece of Cox’s as well for their collection. Two generations of artists from the same family born over 74 years apart.
While working as an artist in Dallas, Texas, Cox worked in the scenic industry constructing and painting large backdrops for theatrical organizations such as the Dallas Opera, the Dallas Ballet, and the Los Colinas Film Studios. Some of the productions include: The Nutcracker and Phantom of the Opera. Cox also painted the background for the National Civil Rights Humanities Awards in Memphis, Tennessee where Leah Rabin, wife of slain Israeli Prime Minister Yitzhak Rabin, spoke and presented the award for freedom.
About The Work
V.L. Cox’s recent work focuses on Human Rights and Equality. In 2015, she launched her National “End Hate” Installation Series, an anti-discrimination series that was placed twice on the steps of the Arkansas State Capitol, and then at the base of the Lincoln Memorial in Washington, D.C. This series employs authentic and found objects that create a visceral presentation commenting on raw emotions and relevant human rights issues that continue to be important topics in the 21st century.
The work sets in motion strong emotions and her creations are powerful, imaginative and unprecedented in style. Cox has a keen and sensitive eye for three-dimensional detail and its impact on all aspects of design and composition in a work of art. In the eyes of the observers, Cox’s paintings combine composition and depth, which are powerful and compel the viewer to interact with the artwork.