January 1, 2013
Susan Woodruff
Making the World
Huffington Post, 01/01/2013
Shana Nys Damboryt

Susan Woodruff
Making the World
Huffington Post, 01/01/2013
Shana Nys Damboryt

My art is grounded in the belief of one universal energy which runs through everything: from insect to man, from man to spectre, from spectre to plant from plant to galaxy. My works are the irrigation veins of this universal fluid. Through them ascend the ancestral sap, the original beliefs, the primordial accumulations, the unconscious thoughts that animate the world.
-- Ana Mendieta

Occultation 2013

Suzan Woodruff makes ethereal, viscous, shimmering paintings that look nothing like the sexualized, narrative, extremely figurative and frequently self-portrait-based work of the late Ana Mendieta. They look even less like the work of Artemisia Gentileschi, Joan Mitchell, Georgia O'Keeffe, Nancy Spero, or Marina Abramovic. Yet in a very real sense, Woodruff is the spiritual and art historical heir to those women and to the many vectors of their careers. These art-historical kinships transcend formal influences, giving rise to Woodruff's glorious abstract allegories, her non-figurative feminist pictures, which bring to the surface what has been sublimated -- even as her surface is where all the action is. But then again, her Burning Woman series -- a periodically revisited performance project based on a ritual burning and with conceptual roots in related paintings -- does look very much like something Mendieta might have done; in the use of earth, air and fire, the direct references to the/her own female body, the performative element, the mass, the totemic, pagan magic at the heart of it -- all transformed through the prism of art.

So how can Woodruff have ancestors like those and yet make such lyrical, sumptuous, aggressively beautiful work? The answer lies just beneath those iridescent, mesmerizing surfaces -- beyond what one sees in the picture and into what one knows to be true about the world. "Sometimes I feel like I'm channeling the universe, working in a kind of trance like a deep meditation," Woodruff says. "In the studio, I also use my body, but to paint instead of burn." In her paintings she contains and choreographs her self-engineered chaos through a proprietary, durational, and seriously physical process, involving constant motion and remaining open to "apparitions and visitations," and what she invokes Leonard Cohen in calling the "cracks where the light comes in." Her micro/macro, fractal-friendly point of view hinges on her belief in the essential interconnectedness of all light and all darkness, all space and all matter -- and that includes living beings.

Like another of her art-historical ancestors, J.M.W. Turner, Woodruff takes artistic license with science and industry. There's a voice of sense-memory and atavistic dream-time that sings a primordial lullaby of fractals and whirlwinds in her process that is about not depicting, but instead replicating natural phenomena -- from the cellular level to the sweep of dust storms, undersea volcanoes, wildfire, rushing water, flocking birds, the contours of a fjord, hurricanes seen from space, clouds of steam and rain, and even ghosts haunting the harbor. This pattern-seeking with an unapologetically spiritual insight does directly invigorate her relationship not only to Turner but also to Frankenthaler and O'Keeffe -- both of whom also worked along this abstraction/humanism/naturalism continuum, and both of whom knew very well that the world isn't always trying to hear it from a lady.

Letting go of the need to control and dominate the laws of nature is scary to some people. That letting go is operative in Woodruff's process, generating an allegorical abstraction in which the method of formal execution is more than a means to an aesthetic end, but integral to the armature of meaning. That form/content dynamic is a vector of the persistent perception of the feminine as a dangerous force. And indeed it is a fine primal line between desire and fear. Some say that's why Mendieta died, victim to a terror of the very untamable, ancient feminine energy she was courting and creating in her work. Someone once said to Woodruff, "I can't decide if your painting looks like the beginning or the end of the world." Her reply? "Why not both?"

News Archive


March 16, 2019
January 17, 2017
Globalocation: Celebrating 20 Years of Artnauts
J. Willard Marriott Library
The University of Utah, 01/17/2017

The University of Utah’s J. Willard Marriott Library will host the art exhibition Globalocation: Celebrating 20 Years of Artnauts, Jan. 20-March 3.

Artnauts, an art collective formed 20 years ago by George Rivera, professor of art and art history at the University of Colorado, Boulder, consists of 300 global artists who serve as goodwill ambassadors, acknowledging and supporting victims of oppression worldwide. Their creativity has generated over 230 exhibitions across five continents. Five faculty members from the U’s Department of Art and Art History are members of the collective, Sandy Brunvand, Beth Krensky, V. Kim Martinez, Brian Snapp and Xi Zhang.

Globalocation derives from “Globalocational Art” — a concept used by the Artnauts to refer to their exhibitions in international venues. It is the mission of the Artnauts to take art to places of contention, and this anniversary exhibition is a sample of places where they have been and themes they have addressed.

“The Artnauts could not exist without the commitment of the artists in the collective to a common vision of the transformative power of art,” said Rivera. “The Artnauts make their contribution with art that hopefully generates a dialogue with an international community on subjects that are sometimes difficult to raise.”

Krensky, associate department chair of the Art and Art History Department, had the opportunity to travel with Rivera in Chile as part of an Artnauts project, working with mothers who were searching for their children who had mysteriously disappeared during a time of political unrest.

“When I travelled to Chile in 1998, George and I spent an afternoon with the Mothers of the Disappeared, and the meeting changed my life,” said Krensky. “It was from that moment on that I placed a picture of them on my desk to look at every day. I was so moved by what they each had lost — a son, a brother, a father — and yet what remained for them was a deep, deep well of love. They were fierce warriors and stood up to the government to demand the whereabouts and information of the people who had disappeared, but they lived within profound love.”

The 20th anniversary exhibition at the Marriott Library is a retrospective of the traveling works the Artnauts have toured around the globe. The exhibition will be located on level three of the library. The opening reception is open to the public and will be held on Friday, Jan 20, 4-6 p.m. Rivera will speak at 4 p.m.

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