ABOUT
Susannah Israel
from perception to realization
The visual parade of urban life is my inspiration. Crisp and vivid or fleeting and fugitive, this montage provides me with rich references. My practice is a fusion of planning, process, and discovery. I begin with a series of drawings to develop a concept; I make notes about color and composition; working with the clay material, I am alert to its expressive possibilities. The figure takes the center stage, as narrator, actor and symbol.
My approach is a combination of practiced skill and reckless disregard for convention. I sacrifice lifelike anatomy to questions of composition and gesture. I use both high and low-fire clays. I am an alchemist, always testing new formulas. I use any material - paint, metal, found objects - that serves the idea. I've told students "Use all your options," and I take my own advice.
"Susannah Israel uses color
as a vital part of each composition, and is a master at creating work
full of imaginative gesture
and meaning."
Natalie Nelson, Pence Gallery
"There is a vast landscape over these pieces that required close attention. Each piece (is) an invitation to a long conversation with the viewer. I wanted to hang out with them, pull up a chair, get to know them and hear stories about them - like I feel when I read a good book."
http://bigoceanblue.blogspot.com/2011/04/susannah-israel-workshopsolo-exhibition.html
"The creations of award-winning California artist Susannah Israel reflect a deep understanding of our collective past."
Deanna Piowaty
combustus.com/california-clay-artist/
"Susannah Israel’s “Le Sacre du Printemps,” vibrantly hot-hued and textured with saturated color spilling from the figure’s hands onto a primitive piano keyboard, bears a startling resemblance to its surroundings.
The Oakland artist’s intuitive storytelling approach, translated into three-dimensions, “is intended to celebrate and serenade the garden setting.”
Lou Fancher
Reviews and Conversations
Allegory, above, was made and installed in 1994 at CSU Bakersfield. It represents the culture & history of the region. In 2004, I received an award from the 510.0rg for my work, which challenges notions of race, gender and culture. Most importantly, I have been told hundreds of times that people see their own stories in my work. As Faith Ringgold tells us, the personal is political.
