sbc 141
Painting
Year: 2012
Edition: Unique
Technique: Acrylic on linen
Framed: No
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AUTHENTICITY
All artworks on IdeelArt are original, signed, delivered directly from the artist's studio, and come with a certificate of authenticity.This acrylic painting on linen is one of 8 medium-scale paintings that Cantrick produced for her 2012 series based on the prose poem "The Pebble" by Francis Ponge.
The parallel between the poem and the paintings has to do with the physical disintegration of an aggregate and its consequences for the integrity of the disintegrated object. The largest of the paintings, a diptych that evolved from a photo taken from a window in the artist’s studio, served as a matrix that Cantrick digitally deconstructed and reconstructed into studies for the 8 paintings on linen as well as a series of small-scale mixed-media works on paper.
The matrix and a selection of the small-scale works were exhibited at the Boston French Cultural Center in 2013.
Susan Cantrick is an American abstract painter whose primary interest is in painting as a structured visual response to sub-linguistic thinking. Her paintings are analogs of her pre-verbal perception that aim to be as articulate as possible, crystallizing the vitality and complexity of emergent cognition.She lives and works in Paris, France
Education
Cantrick came to the visual arts by way of music, which she studied in the U.S. (B.A. Bennington College, M.A. Peabody Conservatory of Music, Baltimore, MD) and practiced, as a violinist, for over 15 years in both the U.S. and France, where she has lived since 1990.
In 1997, facing chronic tendonitis, she transitioned her creative practice from violin to visual art. She has been working from an independent studio in Paris since 2002.
Cantrick spent a winter residency at the Vermont Studio Center in 2004.
Technique
Cantrick's essentially modernist painterly techniques, merging the gestural with the hard-edged, are mediated by post-modern digital interventions. Her hybrid practice favors a stylistic eclecticism that can belie its coherent underpinnings.
The various processes she explores in her work combine elements of structure and freedom....
For the last 10 years, she has been painting from digital studies that are generated from photo-fragments of her previous work. The results resemble what she characterizes as "a gamut of genealogies," paintings that share a common visual ancestry with their predecessors. She recently embarked on the challenge of returning to previously unfinished works, proceeding with new compositions imposed on the already inhabited space. Her various approaches investigate painting as state of mind, process, and object, revealing a connection to ideas about context and the renewal of identity.
Alongside her painting practice, Cantrick creates small-format collages mounted on paper and panel that are often composed of alternate applications of paint and ink-jet printed imagery.
Inspiration
Beyond a love of color and the sensuality of paint, Cantrick's process is driven and defined by her convictions about painting as a form of visual thinking rather than narration, illustration, or critique. As a painter, she thinks in terms of materializing the moment of her perceptual experience when thoughts begin to cohere but before they formulate themselves into language. Though she has occasionally used literature or photos from her environment as points of departure, specific external stimuli are rarely referenced. At the same time, she is aware of how the body and landscape have influenced her preoccupation with how to manipulate flat pictorial space -- how best to show its ambiguities and exploit its complexities.
Relevant Quotes
In a text for the catalog of a 2013 Paris group exhibition entitled “Crossroads,” Françoise Caille wrote:
“Cantrick’s work is characterized by an off-centered hybrid network of organic and geometric structures that seem to be moving beyond the limits of the picture plane. …A geometry that resists the rigor of classic mathematical figures is organized and then undone, favoring aleatoric forms and playing with the power of color contrasts. Out of the chaos and diversity of these structures emerges, however, a form of spatial anchoring: the compositions are stable, barely yielding to the movements that cross them. The work appears to be a constructive game of working out the best equilibrium amongst the forces at play. Cantrick employs at once an architectural approach and the means of a cubist who decomposes and recreates space, in this case fictive… The space is filled with structural richness, building a totality.”
Notable Distinctions
In September 2013 she received the Art Absolument prize at the Salon des Réalités Nouvelles, Paris.
Exhibitions
Susan Cantrick had her second solo show in Paris in 2007. Since then she has shown regularly in solo and group exhibitions in both France and the U.S.
Collections
Her work has been acquired by ACMIN Vie (Paris) as well as by other private collectors in France, the U.S., and Japan.
Galleries
Kathryn Markel Fine Art, New York City
Portrait Photo Credit: Adine Sagalyn
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