- Written by: Susan
In 2005, I was living in Brooksville, Fl , living on a 5-acre plot surrounded by even larger plots and plenty of seclusion to paint. I had my own studio and no one around me to influence my painting. I was showing my work at the time; and is often common with artists, there can be a lot of isolation in between exhibits. Obscurity's Hunger is a darker theme - the large cityscape where homelessness is omnipresent yet overlooked because of indifference or desensitization but yet there is often acts of compassion. I was painting largely from memory of my visits to cities like Newark, NJ, Trenton, NJ and even New York City - Penn Station, as an example.
What I pulled from the threads of my memory of graphic scenes like this was the loneliness of isolation. I remember a book I had read - that the most important thing a human being needs in his/her existence is to be recognized and validated. Really, sometimes it can be as simple as a smile, a kind word, a listening ear, a warm embrace - but often much more - food, shelter, dignity.
This painting was not done to spotlight those in power who live for attention, or who seem to attract attention at every turn because of who they are and what people perceive they can get from them . Instead, this painting focuses more on the downtrodden, the isolated people who suffer publicly and often privately.
Obscurity's Hunger
This painting was sold and no prints are available.
- Written by: Susan
At this time of experimentation with figurative work, I liked illustrating themes dealing with the darker side of the human spirit. This painting was a representation of the isolation and insecurity a person can feel when they believe that others are not supportive of them, often even trying to tear down their success. Now, vultures don't kill their prey, but rather feed on dead carcasses. The elevated figure with the vultures waiting patiently suggest that they are just waiting for her - obviously reveling in her triumph - to fall, crushed, defeated. Rather grim.
The Vultures are Ready
- Written by: Susan
Under my figurative paintings, this is named "Gerard", but originally its title was what you see above. The story behind this is rather interesting. I had gone up to Panama City in 2005 to do a tent show, something I experimented with in my early exhibitions. Quite a bit of fun but very strenuous. The whole thing was a family effort.
We arrived early Friday night to set up, and while doing so, there was this homeless man sitting on a bench watching the whole process. Obviously, it was where he had spent the night, and by the way he was dressed it appeared he was a war veteran (perhaps Vietnam) and rather unkempt. What struck me immediately was that as this whole affair was unfolding, he just watched calmly with the most sensitive face and the bluest of eyes. He truly seemed engaged in what was going on. I remember to this day exchanging smiles with him. As the time got closer to the opening of the show, he was politely (I hope) escorted from the scene, and it stayed that way until the show was over. I often looked for him but it wasn't until Sunday night when we were packing up that I saw him return, right to the same bench. Again, he looked over with interest. I knew at this time that I wanted to paint him because I saw something so ethereal and gentle in his demeanor. There really was no guise or bitterness...this after being ecorted from the park for this "high class" affair (call it what you will).
After I got up the courage to approach him and ask him for his picture, I was once again drawn into the depth of his blue eyes and his easy smile. How could I not ask to paint him? Surprisingly - but why should I be surprised really? - he was eager to have his picture taken and seemed quite honored. This was a painting that so touched my heart I was able to complete it very quickly; and to this day, I can't think of one way I would change it.
Gerard