I
first saw Suzanne Bennett’s paintings over a year ago when I loft sat while she
was on holiday. One hung over the bureau
where I turned the radio on every morning. Impressed by the skill and strength
of the painting, I found myself being repeatedly pulled into its space,
transfixed by the possibility of narrative and nostalgia. I would later
discover the strong emotional residue I couldn’t quite put my finger on as a
constant thread throughout her work.
The
visit began with her presenting a body of about 18 new paintings ranging in
sizes of 14 X 18, 16 X 20 and 18 X 24 inches. The subject was American sitcoms
in the 1970s. She had appropriated
stills of characters from such famous 70s shows as Mash, All in the Family, the Brady Bunch and Fantasy Island-to name a few. This topic became of interest when a childhood
memory she had was in fact a memory from a TV show in her early youth. Her father, who had difficulty hearing and
passed away last year, had filled their home with the sounds of a constantly playing, loud
television.
There is a strong literary component to
Suzanne’s painting. For one, she has a very impressive library of both academic
and creative writing. I always wondered what influence that might have on her
work. Deeply inspired by poetry, she summed up her intent in painting as
capturing the feeling one walks away with reading a descriptive narrative about
a place or character. Her response reminded me of the Da Vinci quote “Painting
is poetry that is seen rather than felt, and poetry is painting that is felt
rather than seen.” Suzanne’s paintings are both felt and seen.
While it was evident the influence of
these shows on her aesthetic (the antiquated palette) and mood (a sense of
innocence lost), what wasn’t obvious was that in the process she rediscovered
her love of painting. A result, she
explained, from being immersed in the conscious decision of how she was
manipulating the paint to depict flesh tones, lighting and dimension. She found
herself focusing on traditional techniques for ambiance rather than her usual
concerns of balance and design. She
described the experience as “working very hard yet having a lot of fun, and
fast paced without the suffering”.
The American painter Rauschenberg saw
beauty in everyday objects. Bennett
sees the beauty in the pragmatic rituals of everyday life. Routine not necessarily filled with big
heroic acts but iconic moments nonetheless that quietly capture the humanness
of our experiences. The brilliance with
her imagery is you don’t have to know the subject directly to feel the
poignancy of longing bred by memory. The
work is also very timely as it mirrors the pulse of change occurring in
American culture today. Changes brought
on by the collapse of structures and ideology that no longer sustain us and the
expansion into new territories afforded by technology.
I look to the tART collective as a
platform to take risks I might not have the opportunity to take otherwise. As I shared this with Suzanne, it led the discussion
to her exploring installation ideas. Provoked by the presentation before me -work
hung in no particular order on the wall, sprawled along the floor and placed on
other objects, I pointed out how I saw the paintings creating an environment.
We discussed the prospects of replicating a room from the 70s, or a television
set inspired by a scene in one of her paintings and placing her work in this
staged space - a befitting solution to an upcoming exhibition occupying the abandoned
spaces of a once vital institution.