Susan Banks

Susan Banks


Whilst retaining some themes and motifs of familiar myths I detach elements from some unsavory narratives used in the history of art and rework them as abstracted alternatives.

I am fascinated by the way that historical figurative painting makes visible the invisible and happily depicts the impossible, so I play with these ideas in the language of abstraction to side step unwelcome meanings. Thus
Cupid is a just suggestion of wings and Perseus is implied by his Helmet of Invisibility. With Perseus and Andromeda there is something of the sea and surf and fear in the painting while avoiding the usual salacious element of the subject.

The paintings seem to emphasize form and visual language and a systematic painting process but they allude to familiar mythical themes and I hope that new meanings will occur. The very surfaces are ambiguous and the colours apparently unstable so It is intended that the images should be visually capricious and entice re-interpretation by the viewer.

The paintings also celebrate the painting process in an age of newer technological image making; The paint is mixed with oil to facilitate a wet-in-wet process resulting in some very rich textures created by tricky paint manipulation. Thus the canvases acknowledge being hand-made objects and change in different viewing conditions. This new work shows a development of these processes enabled by smaller canvases and less systemic rigour in production which is leading to a free flow of new ideas and discoveries.
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Location Louth, East
Activities Practice-based research, Art historical research, Workshops, Critical writing
Artforms / type of project Painting
Tags painting, critical theory, tutor

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