A few weeks ago, we asked artists through the Pacific Standard Time Facebook and Twitter pages to share their thoughts with us. To highlight some of Southern California’s up-and-coming talent, we’ve spoken with a few of these artists and asked them about their work, how they draw inspiration from Southern California, and their thoughts on Pacific Standard Time. The fourth artist in the series is Suzan Woodruff, an artist who is making ethereal color explorations with acrylics.
Can you describe your art for us? What media do you focus on to express yourself? What is your process?
I paint with a method of controlled chaos that creates paintings of natural occurrences, fractals and phenomena. I use gravity, nacreous pigments, viscosity, and evaporation to recreate nature and subliminal feminist sensibilities of power.
I paint with a method of controlled chaos that creates paintings of natural occurrences, fractals and phenomena. I use gravity, nacreous pigments, viscosity, and evaporation to recreate nature and subliminal feminist sensibilities of power. In a recent quote in White Hot magazine Megan Frances wrote, “Woodruff seems to channel a vague essence of Georgia O’Keeffe gone acutely abstract.
How does Southern California inspire you? What about it inspires you? How do you see it reflect in your work, if it does at all?
The actual light and space of the environment of California inspires me as it did the original light and space artists. Being surrounded by such a vast array of landscapes, skyscapes and seascapes feels as if it gives you the freedom to create. I was born in Arizona and have traveled and worked in the American west and many other counties, and I find no place with more natural beauty with a history of dreamers than California, whether they are born here or are entranced by its possibilities. My painting is a extension of traditions from the Hudson school to the ABExers. I’m not only inspired by the spectacle of our environment but I feel a spiritual connection as well. Like the light and space artists before me, I paint what I love without giving much consideration to what is fashionable or popular here or anywhere. I believe that where I work, play, travel, live and dream is reflected in my work consciously or not.
How did you end up in Southern California? What do you find to be the most inspiring part of Southern California?
I originally moved from Arizona, where the beauty did not match the politics or art of Los Angeles. I left LA to move to NYC with my husband, novelist Bruce Bauman, for five years. I was compelled to return for the same reasons: living and working in light and space and an essential quirkiness where I feel at home. The ocean feels like the desert to me. Moving to the farthest Western point of the 48 states, to the edge of the country, following the tradition of many artists,and outsiders before me.
What do you, a Southern Californian artist, take from Pacific Standard Time?
A sense of community and a thrill of what has been, is, and will be done here in all the arts. It is at now a global art world and Southern California is gaining notice and cementing itself as an international art center. It’s a new “Light” to some and a known quaintly to others.
What is your favorite Pacific Standard Time show or event?
So far, the Getty’s Pacific Standard Time. I enjoyed San Diego’s Phenomenal and Doin’ It in Public at the Ben Maltz at Otis College. I was excited to be part of A Gleam in the Young Bastards Eye exhibition at the William Turner Gallery, a show of post light and space generation artists.
For more on Pacific Standard Time and Featured Fan Artists, check out the Pacific Standard Time blog!