The particular and somewhat fanciful conceit that unifies the twenty-five artists in the current exhibition in the Narrows Center for the Arts is revealed by the simple title: “Bridges.”

It features paintings, sculpture, photography and mixed media works by “the Core Member Artists” of the Fountain Street Gallery in Boston’s SoWa neighborhood. Of course, the Narrows sits practically in the shadow of the Braga Bridge, so it makes sense to note the landmark in passing, and to note the historical and cultural connection between Fall River and Boston.

In a statement that accompanies the show, curators (and exhibiting artists) Joseph Fontinha and Lior Neiger elaborate on not only the notion of bridges as connectors of communities but as a metaphor for “traversing space” and linking personal experience to humanity as a whole. And though the cynic in me originally thought the metaphor was being stretched into the incredulous, I was proven wrong.

“Bridges” succeeds conceptually in no small part due to the inclusion of foreign-born (Israeli, Indian, Russian, Ukrainian) artists that prove that Carl R. Rogers’ old saw stating that “what is most personal is most universal” does indeed prove true.

Russian-born Margarita Krylova, now living in Lowell, displays several large oil paintings, including “Entering Town.” Seemingly based on her 2017 trip across Russia aboard the Trans-Siberian Railroad, it depicts a gleeful old man, reminiscent of ol’ St. Nick, with dimples and red cheeks and a great white beard. With a bag and a book in his hands, perhaps he is about to start a new life in a new town and or is just returning home.

Nilou Moochhala, born in Mumbai and presently of Arlington, exhibits two 8” X 10” collages tucked away in a corner by the entrance to the gallery office. But don’t overlook them.

“Honoring This Way of Life” by Nilou Moochhala.

“Honoring This Way of Life” depicts cut-out images of a small girl and an old woman, a map, objects of cultural significance and a glyph of meaning unknown to me. But also within the collage is a blue sky and white clouds, perhaps signifying the flight that is a defining feature of the immigrant experience.

“How Much can you Take?” by Natasha Dikareva.

Natasha Dikareva was born in Kiev and lives in San Francisco, and she presents a small, pedestal-mounted feminine figure, delicately glazed with pale blues, soft greens and pinks. She wears a cloak of seashells and seems to exist somewhere in the realm of mythology, perhaps a nereid, a daughter of Nereus, the Old Man of the Sea. She appears as a being of two worlds, certainly a shared experience for many.

On a similar mythological note, Molly Dee — who maintains a workspace at the Mill Contemporary Art Studio at Saxon Mills in Framingham — exhibits a wall-hung three-dimensional form called “Lorelei.” Orange and blue and mottled, at first glance, one might regulate to the “non-objective” category.

But for those familiar with German folklore, the tale of Lorelei is well-known. She was a distraught maiden who threw herself into the Rhine over a faithless lover and was transformed into a siren, who lured fishermen, enchanted by her song, to their deaths. And then those abstract shapes are understood as a shoulder, breast, thighs and buttocks.

Virginia Mahoney, a Brockton-based mixed-media artist, displays a three-dimensional bright red sleeve suspended from the wall. Constructed of food net, watercolor, ink on paper, steel and thread, “Anxious” is emblematic of our times, in which uncertainty rules supreme. Curlicues of paper strips dangle below the red sleeve read: FRUSTRATION, TORMENT, REGRET, FIXATION, even HELL ON EARTH. Take a deep breath.

An antidote to that may be Lior Neiger’s “WE,” a wonderfully rendered, calm painting of a pale blue and gray sky, in front of which sits a handsome cupola, topped with a weathervane. The W and the E indicating two of the cardinal points are clearly evident. Neiger’s decision to call it “WE” seems like a sweet plea for communal oneness.

Rob Sullivan, of Portland, Maine, presents a large-scale triptych, which is mysteriously titled “Ponticulus.” A ponticulus is a small bridge.

Instead, in this rather remarkable painting, a large pink band travels across all three panels against a dark sky. A young woman, seemingly topless and with her back to the viewer, is mid-torso deep in an exquisitely rendered body of water, feeling the aquatic sway.

The woman is pink as well, albeit a shade deeper, and she stares downward into the deep, as if reaching an understanding.

Other works of note include Sarah Alexander’s “Break Free,” a 3-D “drawing” of steel, copper and shadow; an eerie untitled painting by Dalvin Byron of a bloodied yellow rubber duckie; Alexandra Rozeman’s wistful and nostalgic sunset beach scene painting called “Where Are You Know?”; Marie Craig’s cyanotypes; and Melissa Shaak’s acrylic diptych “Life Preserver -Because We Need One.”

The bridge ain’t too far.

“Bridges / Selected Works from the Core Members of the Fountain Street Gallery, Boston SoWa” is on display at the Narrows Center for the Arts, 16 Anawan St., Fall River, until Sept. 1. A closing reception will be held on Saturday, Sept. 2, from noon to 2 p.m.

Art Beat: 'Bridges' at The Narrows in Fall River links communities, personal experiences