Contributed by Wells Chandler / Inserted in extravagant interiors, the hybrid creatures in Hannah Barrett’s paintings, now on view at Schoolhouse Gallery in Provincetown alongside the work of four others, embody both psychic and material liminality, performing the delicate work of chronicling personal and cultural becoming. As seraphic intermediaries contemplated by the likes of Hildegard von Bingen, Barrett’s elastically protean tricksters play as queer homunculi, perhaps resurrected from the margins of illuminated medieval manuscripts, reanimated and thriving in Victorian polychrome. Cloistered in very gay Akashic libraries, they are fierce androgynous gatekeepers, summoning rune light from somewhere over the rainbow.