For more extensive artist's bio, articles and list of exhibitions, visit artist(s) website(s). Many of the images displayed on this site are copyrighted, and are used here only for purposes of education or critical review. All rights are reserved by the artists who created the works referenced herein.

Painting is silent poetry, and poetry is painting that speaks. Simonides

Susannah Zucker













Susannah Zucker


EDUCATION

2007 MFA University of Georgia Athens GA

1994 BFA California College of Arts and Crafts Oakland CA

TEACHING

2012 Figure sculpture Odyssey Center for Ceramic Arts Asheville NC.

2004-6 Graduate teaching associate University of Georgia Athens GA (ceramics classes)

2006 Graduate teaching associate University of Georgia Athens GA (figure sculpture class)

2004-6 Contact Improvisation Dance Canopy Dance Company Athens GA

2004-6 Contact Improvisation Dance Warehouse Dance Collective Athens GA

1993-04 Contact Improvisation Dance Berkeley CA


AWARDS AND GRANTS

2012 Best in Show Best of Western North Carlina Artists Asheville NC Juror: Wendy Outland
Best in Show Artist's Guild of Spartanburg Juried Show Spartanburg SC Juror: Mana Hewitt

2007 Resident Artist Anderson Ranch Art Center Snowmass Village CO

Best 3-Dimensional Work The Open Show Oak Ridge Art Center Oak Ridge TN

2005 Best Ceramic Work The Open Show Oak Ridge Art Center Oak Ridge TN

Grant for department-invited lecturer: Justin Novak Wilson Center for Humanities and Arts University of Georgia
Athens GA

2004 Best in Show California Clay Competition Davis CA Juror: Margaret Keelan

1993 All College Honors Award California College of Arts and Crafts Oakland CA

1988 Best in show Annual Student Art Competition University of Massachusetts Amherst MA











Artist's Statement for Life Support

I strive to generate imagery that will circumvent automatic reaction, and draw the viewer toward a deeper sense of intensity with regards to the body. The work is anatomically driven and often involves layering of animalistic, medical and or fetishistic overtones. This layering of elements reconfigures the bodies to signify something other than ordinary human conditions. The sculptures are intimate, private, and wild - captured moments that are expressive of desire for flight, power, magic and transformation.

The exhibition, Life Support is comprised of a group of human figures and horses that appear to be disheveled carnival performers. There is evidence of both virtuosity and trauma in the bodies, bodies that tell stories of fallen angels, hospital rooms or a hazy piano waltz.

The carnival, as a context for presenting imagery has a captivating and multi-dimensional effect: it houses cultural underpinnings to do with virtue, conformity, disfigurement, seemliness and the haunting unknown. The sculptures in Life Support engage the viewer with this echoing multiplicity.

This body of work incorporates an array of wing-like appendages made of bones and antlers from horse, cow, moose and elk remains. The bones hold the extensive and enigmatic histories of these giant animals; the unfathomable complexity of their lives and their deaths. The wings are a visual metaphor for how the body finds freedom; alchemy, resilience, pleasure, abandon, release - but these decrepit bone wings also carry a ghostly implication of finding flight via death. When the bones are embedded into the figures, they offer a testament to the life of the animal, but also to the more animal aspects of human nature; our instinctual desires and fascinations that often drive us in ways we cannot understand or perceive.

Life Support is part of a body of personal research on the effects of trauma: how we transcend, survive and thrive when it breaks us, and how we achieve meaning through this process. With this work, I am interested in speaking about the breaking apart. What do we learn from it? How do we learn from it? What is generating the passions and profound strengths that so often occur when we surrender to it, and cleave to life? The sculptures, with their medical devices and boney accessories, are essentially an exploration of the idea that the trauma itself bestows the power to grow wings or cultivate liberation.




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