Susan's "subject matter, context and medium...present a coherent artistic vision"
John Torreano, Clinical Professor of Studio Art, NYU

"Great stuff. Love your work."
Seymour Chwast

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Thursday, December 28, 2017

Castle in the Sky

Detail - Castle in the Sky, acrylic on linen, 36 x 24 inches (click to enlarge) xxxxxxxxxxxxxxxx
MY GARDEN PARTY paintings have been  very well received up and down the East Coast. Well, why not? Who doesn’t like a party? After Garden Party’s debut at the Westfield Broward Gallery in Plantation, FL, Madame Garden Party was invited to be in the 75th Regional Exhibition at the Arnot Museum (NY) for the entire summer. Alice's Aura  from the group was exhibited at the Treat Gallery, NYC. and Castle in the Sky (above)  was shown at Manhattan Arts International Gallery as part of The Healing Power of Art exhibition and earned an Award of Excellence from  Renee Phillips, the gallery director.

I started painting Garden Party as just that: an outdoor party on a blanket on top of the earth’s soil where the guests' concerns did not extend beyond getting the last deviled egg, keeping dirt off the devil’s food cake and their clothing, and holding the local wildlife at bay. However as the series progressed, it became apparent to me that the work was so much more. Castle in the Sky depicts an evolved world where total harmony exists between humanity and nature. In fact, the two worlds have melted into one. Stylistically, society and its products (the girl, the castle and the chair) and the environment (the birds, sky, beach and water) have merged into one natural, utopian democracy. In this alternative airborne world, you can view the earth as we know it in snippets on the right side of the canvas. It’s between the girl’s torso and elbow and to the right of her thigh.

In all the Garden Party paintings, while technically painting a picnic, conceptually I found that I was exploring societal and environmental concerns by combining fantasy and reality. I used microscopic details to provide playful suggestions of a better, healthier world. This beautiful symbiosis is my "castle in the sky." Unlike the usual connotations that phrase carries, I believe it is perfectly achievable if we listen when the earth speaks to us.

I am not the first artist to dream of a Castle in the Sky. The master Japanese filmmaker Hayao Miyazaki designed his own floating world in an anime also entitled Castle in the Sky. Miyazaki said that he does not want to push any message on moviegoers; he just wants them to be happy after seeing his movies. I feel the same about my viewers. Still, I need to conclude this newsletter with a quote from the master:

"The earth speaks to all of us, and if we listen, we can understand."


Tuesday, December 26, 2017

Air Drawing

Jennifer, Blush and eyebrow pencil  on open matchbook cover, 3x 1"

Bouquet, pencil, berries,emon juice and grass on napkin, 5 x 5inches

Bouquet No.2, pencil, berries, lemon juice and grass on napkin, 5 x 5inches

EVERYTHING AROUND ME  at Foxglove Cottage is so beautiful that when I look at things,  my fingers start twitching with mock drawing. This is similar to playing air guitar, so  I call it air drawing. Unfortunately, the seemingly purposeless movement of my hands is a dead ringer for the movements caused by the nervous disorder, St. Vitus Dance. My twitchy air-drawing fingers remind me of the James Brown song, "I Got Ants in my Pants (And I Want to Dance)."The only difference is that I got ants on my hands and I want to draw.

I felt better about this condition after I read Chaim Potok's novel "My name Is Asher Lev." It happened to the eponymous painter Asher Lev as well. Perhaps it is a common artist's affliction. Sometimes the purposeless hand and finger movement is gentler and less obtrusive, for example, if I am air drawing an outline of a subject. Invariably, though, it crescendos into feverish, frantic back-and-forth motion because I eventually have to air shade within the air outline that I have just  air drawn. At this stage, I am compelled to  find some implements with which to convert the air drawings into actual drawings. So, I  use whatever materials are on hand.

I am very fond of these urgent little drawings that I do on found paper with found implements–poor cousins to the careful, thoughtful drawings that I do in my well equipped studio.. They are urgent and uninhibited and that's what makes them fresh. Speaking of fresh, Matisse and Picasso both used to draw and paint using bodily fluids and products for pigment. Ugh! I draw the line there (pun intended). But I have used pigments derived from berry juice, grass, dirt, lemons, tea and makeup on matchbook covers or napkins, or even bare fingers on fogged-up windows. In a perhaps futile attempt to appear normal, I have to give my quivering hands some purpose, something with which to draw and something upon which to draw. It's either that or I will be carted off to the nearest neurologist quicker than you can say,"I got ants on my hands and I want to draw!"