Rural country life and suburbia often are in close physical proximity but are culturally worlds apart. The current Gallery Visio exhibit “Customized Vistas” brings together the suburban and country childhoods of husband and wife artists Joseph D’Uva and Summer Zickefoose in a pastel, pleasant collection of art works.

D’Uva grew up in suburban coastal Florida while Zickefoose grew up in rural northern Iowa. What these two diverse backgrounds seem to share is a taste for the pretty and pastel.

Pink, pale green and sky blue are recurrent colors in this exhibit, which features eight works by D’Uva and three multi-part ones by Zickefoose. D-Uva’s works are playfully pop-culture prints while Zickefoose’s mixed-media works are more sculptural, with a found-object and folk-art aspect.

Zickefoose’s “The Scenery Series” is a collection of old hand saws whose blades are covered in country -print fabric and tied to the handle, like an old-fashioned kitchen apron. The contrasting-print ties are often trimmed in lace, add to the apron-like effect. The fussy floral prints and feminine touches creates an ironic contrast with the rough-hewn saw handles, some of which are so weathered as to be half-missing. The decorated saws are displayed in an orderly row, attached to the gallery wall.

With “Saw Tooth Doilies” the artist continues her feminine transformation of the practical implements, with a series of laser-cut circular saw blades. The cut-out blades are displayed on posts that hold them out from the wall, casting pleasing shadow patterns.

“Cockleburrs and Pleasantries” extends Zickefoose’s theme of country found-object reinterpreted. A series of white teacups, perched on pink painted wooden brackets, decorated with brown writing and filled with natural materials like cockleburrs and seeds. The writings are taken from women’s farm journals and diaries, but all not all pleasantries, including excerpts about vaccinating pigs.

D’Uva includes pigs in his works too. “An Essential Feeder,” a screen print with flocking, uses tone-on-tone pink images of pig graphical shapes and a line drawing of a feeder, which looks like it may have come from a catalog of farm goods. Pastel colors, so typically Florida, and simplified graphical images that combine pop-culture cartoons and advertisements, dominate all the D’Uva pieces on display.

Number often appear in D’Uva’s pieces as well, as is the case for the flower planter on green image, “Shamrock Heights,” which appears on the exhibit’s promotional postcard. The title may be a reference to a subdivision name, as it is displayed next to the pale blue “Suburban Migration” featuring a white picket fence graphic.

Most of D’Uva’s pieces do not reference the country-suburban connection as obviously. “Duck Worthy Alignment” uses the lined paper children use to learn to print their letters but decorates it with a teal-blue line of graphical duckies. “Mouseketeer” is a black and dark gray print of Mickey Mouse caps.   “A Friendly Lure” has a green field printed with mousetraps, like wall paper, on which a pair of wind-up mouse graphics have been printed.

“Tampa Bay Downs Bound” more directly references D’Uva’s Florida childhood. It is a brightly pastel map of the state’s west coast and the Gulf of Mexico over which are printed Greyhound Bus logo dogs chasing a graphical white rabbit.

Gallery Visio “Customized Vistas” is a soothingly pastel, pastoral suburban experience, on display through May 16.