This work started in Spring. I had been thinking about the idea of a “pond of tears”. I awoke from a dream with an image of a stylized medical poster in my minds-eye. This seemed the perfect point of departure.
These pieces explore that part of our body above the heart, between our shoulders, yet unrelated to the brain,..resonating emotion…tears, fear, joy, love. Intuition that connects to nature, the unconscious, the knowing.
I search for the wisdom that reveals itself through this practice of art making.. this exploration, excavation of ourselves and the connections it forms on the paper and with others. Always a mystery.
Susan Singleton 9/10/19
8pc of the set of 16 to be exhibited at BIMA 10/14- 2/10/2020
Perry and Carlson Gallery 8/18-10/18
Liminal State: time between what was and the next
exhibit at Perry and Carlson Gallery, Mt.Vernon, WA
A liminal state… when I work I find a state of mind that is focused and conscious yet different than anything else in my experience. It maybe close to meditation but I can honestly say that it is not always refreshing. Much of the time it is rather unsettling with the intersection of ideas and materials. This is a place that I have grown to love and hold in great regard as a practice of passing through the thresholds of discovery.
Author and theologian Richard Rohr describes this space as:
“ where we are betwixt and between the familiar and the completely unknown. There alone is our old world left behind, while we are not yet sure of the new existence. That’s a good space where genuine newness can begin. Get there often and stay as long as you can by whatever means possible…This is the sacred space where the old world is able to fall apart, and a bigger world is revealed. If we don’t encounter liminal space in our lives, we start idealizing normalcy. Here we are taught openness and patience.”
I see the work curated for this show to document a “liminal leap” ..from my ziggurat works developed between 1990 - 2015; to the vessel pieces of 2010; leading to my most current work the shrouds, 2018.
These years for me have included an exhausting yet illuminating period —moving through time, awakening to the idea that there will be an end… Impermanence. We do not exist in isolation; the seasons, friends and family, the political climate and my emotions. This all impacts how I approach my work. I have found joy and healing in my art. It has carried me along.. revealing a solid structure— pieced together tentatively with the power of discovery. This liminal state reveals something true that makes my being complete.
about the artist..the new and old work and a glimpse into the studio
in the studio and making the subtext work
Substrate Exhibit at the San Juan Islands Art Museum
In the span of a year Kandis Susol, Hannah Alex-Glasser and I have had 3 exhibits. We are thankful for the opportunity to explore the impact of our work together in three very different situations. We feel that particularly in today's world, this work carries an urgently-needed and important counterbalancing voice.
SUBSTRATE underlying currents San Juan Islands Museum of Art 2/2018-5/2018
RESONANCE Allen Family Anacortes Art Invitational 8/2017
TEARS for the World Perry and Carlson 7/17
Substrate Exhibit at the San Juan Islands Art Museum
SUBSTRATE underlying currents
San Juan Islands Museum of Art February-May 2018
“When the work of Susan Singleton, Kandis Susol and Hannah Alex-Glasser is exhibited together, one recognizes a rare confluence; that ability for mature work in different mediums, toward different ends, to resonate so profoundly that each is lifted.
Installing “Tears For The World” in the Perry and Carlson Gallery, we witnessed this dialogue between the works of three women from the islands of the Pacific Northwest become an ensemble as much as a group show.
In the way that the loosely described Northwest School brought the qualities of dappled light, mysticism and the quietude of Pacific Northwest nature to their audiences in the mid 20th century, Kandis, Hannah and Susan’s work dialogues on such a level—the quiet power of monochrome schema, the play of light on surfaces, and the viewer’s experience of being drawn, layer after layer, into complexities where a singular experience awaits.”
Christian Carlson, Perry and Carlson Gallery, Mt.Vernon, WA
Tears for the World
Perry and Carlson Gallery June 1-July 2, 2017
Anacortes Arts Allen Family Focus Gallery July-August 2017
I have my inventory listed on an artwork archive site, please take a look.
For my entire career I have had an ongoing discussion between imagery, textures and organizational space.
Textures and space have shaped the body of work that I refer to as ZIGGURATS. However, there has always been a nagging voice that calls me. It is that voice of poetry, emotional and personal.
It occurs to me, as I glimpse into the future, that the time is right to allow this more narrative voice to surface. I will not know what it will say until the work is made. The photographic images, the drawing and the textures are a life-long collection of experiencesthat have some significance to me -- they fit together in my eyes.
The LEXICON work is winding its tendrils around my imagination and my heart. The first set I called "tablet" , then "ghosts", the "ovums" now "subtext". With a few odd balls sprinkled in. LIke characters in a novel these pieces spring up asking to be developed!
This is the work I have been waiting to make, now I just must have the patience and discipline to make it. It is my LEXICON, my vocabulary.
Susan Singleton calls her large paper pieces ZIGGURATS: ancient walls. They are made by stitching together handmade washi paper, then dying and painting the surface. Block printed and stenciled patterns are applied and metallic leafing is used as a contrasting element.
Described as ‘zen-like’, the work has a classic formal composition with depth of color and texture. The work marks time, aging, the study of surfaces both familiar and curious. This art is quiet, meditative and calm.
Many of the ziggurat pieces are commissioned by architects and designers for a specific location.
Designing art for site specific installations is a sustaining part of my studio work
Healthcare & Hospitals
Alliance Chapel, Houston, TX8/2012
St Elizabeth Hospital, Houston, TX
The Heart Disease Center, Roppongi, Tokyo
Heart Technology, Redmond, WA
Hendricks Hospital, Indianapolis, ID
Bailey-Boushay House, Seattle, WA
U.C.L.A. Medical Center, Los Angeles, CA
University of Washington, Medical Center, Seattle, WA
Swedish Hospital Chapel, Seattle, WA
Kelsey Seybold Hospital, Houston, TX
Novo Nordisk Tokyo, Japan 12/2004
Kaiser Permanente, Portland, Oregon
Group Health, Seattle, Olympia, WA
AC Hotel Tempe, AZ
AC Hotel NYC financial district
Hilton Hotel Lobby, Orange Co, CA 11/2012
The Dynasty International Hotel Dalian, Dalian Star Bay,China 7/11
Riyadh Saudi Arabia, Four Season’s Hotel 7/2010
XII Hotel, Kyoto Japan 2/2008
Falling Rock Hotel and Spa, Nemacolin Woodlands Resort, Farmington PA 7/2004
Ambrose Hotel Lobby, Santa Monica, CA
St. Regis Princeville, Kauai, Hawaii
Mandalay Bay, Las Vegas, NV
Borgata Hotel and Spa, Atlantic City, NJ
La Costa Resort and Spa, Carlsbad, CA
Broadmoor Hotel, Denver, CO
Westin South Coast Plaza, Costa Mesa, CA
Takamatsu Hotel, Tokyo Japan
Four Seasons Hotel, Denver CO
San Francisco Hilton, CA4/2008
Parisi Hotel, La Jolla, CA 8/99
Tobu Hotel, Sapporo Japan
Palace of the Golden Horses, Kuala Lumpur Malaysia
Pan Pacific Yokohama, Japan
Hyatt Regency, Muscat Oman
Senayan Project, Jakarta Indonesia
Sheraton Grand, Houston, TX, & Atlanta, GA
Westin Hotel, Seattle, WA & Ottawa, Canada
Wilshire Grand Hotel, Los Angeles, CA 4/99
NIKKO Hotel, Beverly Hills, CA
Alhambra Library, Alhambra, CA
Washington State Convention Center, Seattle, WA
Seattle University Law School 11/99
University of Texas, Alumni Lounge 10/98
US Embassy, Pretoria, South Africa
Urban Renaissance Group LLC 2/19
Amkor Technologies Phoenix, AZ 1/15
Amkor Technologies PaloAlto, CA 3/16
Lockeed Martin Executive offices9/14
Alston Courtnage and Bassetti LLP, Seattle, WA 10/2012
Screen Actors Guild Executive Offices Burbank, CA
Parametric Portfolio, Seattle, WA
Curtis, Mallet-Prevost, Colt & Mosle LLP, NYC
NFL Corporate Headquarters, NY 9/2008
Sapphire Tower San Diego, CA 11/2008
Runzheimer International, Waterford, WI 1/2004
Law Offices Nixon Peabody, Boston, MA
Johns Manville Lobby, Denver, CO
Sailfish Point Club, Hutchinson Island, FL
Alpine Bank, Aspen, CO
Curtis, Mallet-Prevost, Colt & Mosle LLP, Paris
Greenwood Corporate Center, Denver, CO 10/2005
Mitsubishi Shiodome, Tokyo, Japan 1/03
Saks Store Windows, Naples, FL2/01
Lucent Technology, MD11/00
Sprint Federal Headquarters3/00
Nowlin Building, San Antonio, TX8/99
Law Offices of Gassaway/LoveTulsa OK 5/99
Law Offices of LeBoef, Lamb &Greene, Pittsburg, PA
Shell Oil Corporate Headquarters Houston, Texas
Genesis Oil, Houston Texas
Sharp Technology, Portland, OR
Compaq Computer, Houston, TX
KIRO Broadcasting, Seattle, WA
Watson Wyatt, Bellevue, WA
Nordstrom Stores Nationwide
Ramano Residence, Phoenix, AZ 6/2012
Debby & David Hopkins Residence, Palo Alto, CA
Tiger Woods Private Residence, Jupiter Island FL
Michael Kreiss House, San Diego, CA
AC Hotel Manhattan NYC
Urban Renaissance Group LLC, Seattle, WA
construction 5' x 8' using bamboo and paper Phoenix, AZ 11/2015
Big Blue for the AC hotel Tempe,AZ
Big blue was Inspired by the amazing thermohalide ocean current - one piece of water travels the entire globe in about 1000 years. It's movement is governed by temperature and salinity.
Goehring, Rutter & Boehm
Goehring, Rutter & Boehm
SUBTEXT gets its title from the stained pages of an 1880's book that was used to compose the underlying structure for the work. This latest set in the LEXICON project is about shelter dissolving into space; attachment and loss.