Cheryl Harper takes her cues from America, but not the idealized Americana or patriotic invocations that so often find a place in folk art and popular culture. Instead, this artist produces a brand of ridiculous, self-conscious commentary on the state of the country and our collective obsessions. At James Oliver Gallery, both the political landscape and the social climate of the United States rear their heads in the multimedia works of “Convenient Vanities and Political Fancies,” which challenge and lampoon the powers that be.

Cheryl Harper, “Convenient Vanities: Death by Chocolate.”

It is first apparent that Harper has arranged each of her small installations like she was expecting company. A few tables stand against the walls of the long gallery, draped with fringed tablecloths and adorned with utensils and all manner of other fare. On one table we find a plate of M&Ms, Kit-Kat bars and a bottle of Yoo-hoo. Entitled “Convenient Vanities: Death by Chocolate,” the selection of heavily processed, chocolate-flavored morsels looks glossy and synthetic… because it is. Everything is ceramic here–not that the nutritional content of any of these actual snacks would surpass porcelain by much.

Concerning the name of her still life arrangements, they are modeled after the traditional ‘vanitas’ paintings that were once created as a way to remind us all of the fleeting and delicate time we all have on this earth. Interestingly, Harper chooses three dimensions to construct her allegorical compositions, of which it is worth noting that she not only created the ceramics, but also the accompanying prints, tables and tablecloths too. But despite the somber messages of the vanitas of old, Harper also provides a wry sense of humor in her updated versions.

Cheryl Harper, “Convenient Vanities: Oh Thank Heaven.”

For “Convenient Vanities: Oh Thank Heaven” the artist borrows a slogan from the 7-Eleven chain and enlarges their Big Gulp beverage into a thoroughly unbelievable bucket of cola. We also find a bowl of chips and cheese puffs, a giant cigarette pack, and a ’25-Hour Energy’ drink that promises a ‘Big Crash.’ All of these consumer satires gently remind us that, although enormous soft drinks and jolts of caffeine are in some ways the norm, they themselves are also a reminder of our mortality. We may consume now, but our actions are not without repercussions down the road.

Cheryl Harper, “Hillary Sphinx I.”

Turning her attention to the public officials that lay down the laws of the land, Harper caricatures the celebrities of Capitol Hill and the White House. Many of these faces and names are recognizable to a relatively broad demographic. Hillary Clinton, Michelle Obama and Condoleeza Rice make their appearances as statuesque versions of the sphinx, Clinton sporting the rear half of a Democratic donkey, while Rice’s headdress is adorned with a Republican elephant instead of a cobra.

Cheryl Harper, “Ballot Box.”

Harper may not make her political leanings overt here, but she does seem to find the whole process rather rehearsed. Perhaps it comes with the territory that notoriety follows elected office, but the name recognition of the ruling class has accommodated effigies and parodies the world over. By seeing these personas as images from Egyptian antiquity, the artist demonstrates just how far back these tendencies might find root. As for her ballot box bearing the faces of Obama and Romney, one side is an e-mail inbox overflowing with political messages, while the top contains no slot through which to cast a vote. This ballot box acts as punctuation for a show that finds its stride not with the politicos but those with a comedic and critical eye. The show will be on display through January 15.

James Oliver Gallery is located at 723 Chestnut St., on the 4th floor, Philadelphia; [email protected]; jamesolivergallery.co.