Susan Cantrick
sbc 154 (Abstract painting)
2013

Name: sbc 154 (Abstract painting)
Brand: Susan Cantrick
Price: 3693.61 USD
Availability: InStock

About the Item

Acrylic on linen - Unframed This acrylic painting on linen is one of a series of 10 that the artist developed from a painting that incorporated a photograph she took of a flatbed truck used for transporting cars. The element of interest on the truck was a sort of ladder with soft-cornered rectangular openings. She extracted all but the ladder structure from the photo, punched out the openings, and digitally superimposed the image on a painting in progress. That digital montage became the model for the original painting. Each successive painting took on its own identity completely apart from the source materials, with the soft-cornered rectangles and the palette being predominant constants. The 10 paintings were exhibited together in an exhibition entitled "Transitive" held at the American University of Paris in the spring of 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. 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. 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.

Creator:

Susan Cantrick

Creation Year:

2013

Dimensions:

Height: 39.38 in (100 cm)Width: 31.89 in (81 cm)

Medium:

Linen,Acrylic

Movement & Style:

Hard-Edge

Period:

2010-

Condition:

First hand item, delivered directly from the artist's studio.

Gallery Location:

London, GB

Reference Number:

1stDibs: LU65932446021

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Susan Cantrick

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. 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.

Cantrick 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 a 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 panels that are often composed of alternate applications of paint and ink-jet printed imagery. 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 and how best to show its ambiguities and exploit its complexities.