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The second in a series of paintings, this 30 x 40 inch image is drawn from a memory of morning glories growing on a fence by an empty lot in Chelsea, New York City, near my studio.

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Comment by Resident Curator on April 14, 2012 at 7:58pm

Hello Suzanne,  I'm happy you were pleased with my comments.  It is a pleasure to view your range of work, although I'm sure it is even more lovely in person.  Thank you for sharing it with us.


Comment by Suzanne Marie Simson on April 14, 2012 at 12:52pm

Many thanks for your comments!  I appreciate how you could write so beautifully about what you saw in my work.  It's difficult to really see what is in a painting when it's reproduced in a photo and placed on line, but I think you could see inside the work.  Thank you!

Comment by Resident Curator on April 13, 2012 at 9:38pm

Curator’s Comment:  



I'm partial to the hazy softness of these images.  The muted blues and browns create a shadowy spatial relationship, but sections also appear densely layered at longer inspection.  The floral forms are skillfully understated, emphasizing their natural frailty, and fleeting opening.  I also like that the arrangement of the pale blue open blooms travel in a sinuous path, as orange faded or bruised versions of the petals are dispersed in the surrounding space.  I enjoy seeing the vacillation between representation and abstraction of similar forms in your larger body of painting, as evidenced by Mum’s Brush.  While more traditionally orientated as a still life and floral arrangement, the large bouquet (or chrysanthemum?) in the foreground is offset by the modulated color echoed in the painterly ground.  It’s worth noting the blackish space in the backdrop is startlingly successful against the more delicate and warmly tinted orange hues.  It’s a bold and sophisticated choice of value that most painters of natural forms and light shy away from.  In this piece the result is arresting, and quite contemporary.


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Ms Kristen T. Woodward critiques of members art.


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