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MICHELE SUDDUTH: PAINTING IN A SOCIAL SPACE By Glen Helfand Pinned to the wall in a corner of Michele Sudduth’s

dissonance—and allusions to the figure, along with

spacious Bernal Heights studio is a conglomeration of

a sophisticated psychological charge. Against solid

sources, inspirations, and digital sketches for works to

backgrounds, she paints layers of forms derived from

come. This isn’t a surprising thing to see in an artist’s

puzzle pieces, a motif that began in a previous body

workspace, but here the collection of materials forms

of work. What were then more recognizable as jigsaw

a particularly direct parallel to the fully realized

forms have been refined, truncated, and cloned. They are

paintings leaning against the walls nearby. Arranged in

part human and part architecture, a sculptural hybrid in a

a grid that may not be measured but appears precise

flattened universe where a sense of dimensionality comes

is, among other things, a postcard of Ellsworth Kelly’s

from contrast and an ensuing vibration.

Study for “Cité”: Brushstrokes Cut into Twenty Squares and Arranged by Chance, a trio of Matisse Blue Nudes,

The placement of elements within the composition

and a photograph of the studio window: an urban view

suggests figures in interaction: some face each other,

divided into frames and doubled by reflection in the

others overlap. The central forms in a painting called

sheen of a tabletop. This collection of images reveals a

LONDON BUS face off within the proximity of a kiss.

specific aesthetic that combines elements of figuration,

The background is painted the solid red associated with

abstraction, an adventurous sense of color, and a trust

the piece’s title, a color that subsumes figures painted

in chance strategies. It also expresses a reverence for

a similar shade but camouflaged depending on their

modernism, particularly in its most colorful forms, and a

vibrancy. Some stand out like beacons when the colors

contemporary pluralism that encompasses the totality of

contrast, as is the case with various shades of pale

these sources.

blue and lavender. The use of color is unexpected and exuberant, full of energy and complex interaction.

All this is evident in Sudduth’s large new paintings, which are bold abstractions full of adventurous color

A larger work titled MISSION BOOGIE expands on the

combinations—some energetically flirting with chromatic

composition, placing the forms on a white background

MISSION BOOGIE Detail

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that changes the tonal relationships. The palette of the

ArtInfo.com, and many other periodicals and exhibition

figures is saturated Necco Wafer, candy-like, intense,

catalogs. He’s a Senior Adjunct professor at California

earnest. The forms are flipped and repeated, as if

College of the Arts. He also teaches in the graduate

seen in a horizontal mirror, except that slight details

and undergraduate art programs at Mills College,

are altered; it’s not a true reflection but one with the

and at the San Francisco Art Institute. He has curated

capacity to morph and evolve. Just like life.

exhibitions for the De Young Museum, San Francisco; the San Jose Museum of Art; the Pasadena Museum of

Sudduth’s painting fields can be viewed as social spaces

California Art, Pasadena; Rena Bransten Gallery, San

where semiabstract figures congregate; the groupings are

Francisco; Dust Gallery, Las Vegas; the Mills College

interactions of color and form. Sometimes the colors seem

Art Museum, Oakland; the San Francisco Art Institute;

convivial, at other times more sober. The picture plane

and the Asian Art Museum, San Francisco.

could be the site of a party or perhaps a support group. It’s the swath of humanity on that London double-decker, folks in their own reveries or emotionally catching the eye of another. The interactions are open to interpretation, as if the painting were a cubist Rorschach test. We’re all part of this picture. Glen Helfand May 2014 Glen Helfand is an independent writer, critic, curator and educator. His writing has appeared in Artforum and at Artforum.com, the San Francisco Bay Guardian,


MISSION BOOGIE | 2014 | 54 x 90 in.

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ROCK IT | 2013 | 70 x 42 in.


MICHELE SUDDUTH: ABSTRACTING THE PUZZLE By Mark Dean Johnson Michele Sudduth has steadily pursued her painting

of work being showcased at the SFMOMA Artists Gallery,

practice in San Francisco’s Mission District for more

Sudduth has accentuated the human-head-like appearance

than twenty years. I greatly admire her work for several

of one of the puzzle piece’s bulging protuberances. This

reasons. These include the rich, formal sophistication

expands the work’s potential to provoke narrative readings.

of her ambitious abstractions and the multiple ways in

Viewers might find crowd scenes in these images, and

which her work dialogs with modernist art history.

conversations or confrontations between groups of figures that are derived from repeating and overlaying the puzzle

In his thirty-five ”Sentences on Conceptual Art,” artist Sol

shapes and forms.

LeWitt wrote: “There are many elements involved in a work of art. The most important are the most obvious.”

However, the humanoid heads look more robotic than

Sudduth’s most obvious and thus important element is a

human, a little like C-3PO from Star Wars, and less like

formal vocabulary of idiosyncratic hard-edge abstraction

any inherently asymmetrically unique person. This places

that employs repeated and often mirrored curvilinear

Sudduth’s work in different art historical contexts, including

forms. This compositional language harkens back to the

the highly specific contemporary Bay Area corporate

1960s painters associated with Op art, such as Richard

landscape of film and gaming technology. But earlier

Anuszkiewicz and especially Bridget Riley, but it also

epochs of modernism are also evoked, especially the 1920s

operates in visual conversation with contemporary Bay

geometric figures and faces created by artists such as Oskar

Area artists such as Amy Ellingson—who is in fact a good

Schlemmer and Alexej von Jawlensky—and even filmmaker

friend and former studio neighbor of Sudduth’s.

Fritz Lang—who similarly envisioned a composite of man

and machine as emblematic of our futuristic moment in time.

For the last decade, Sudduth has based her compositions on a specific found form: a single piece from a jigsaw puzzle.

I further appreciate Sudduth’s work in relation to the great

This reference conveys a hint of narrative content, as if the

serialist composer from the same early modern period,

artist were using this familiar image to probe meaning and

Arnold Schoenberg. In the 1920s, Schoenberg developed

find her place in the larger puzzle of life. In the new body

a twelve-tone compositional system, where a musical score 7


of melodic lines and harmonies was largely constructed by

angles manages to imbue them with movement and speed.

manipulating motifs through the inversion, mirroring, and

To my eye, these paintings are effective more because of

mirrored inversion of a specific sequence of notes. This

Sudduth’s dynamic use of color and form than for their

structuralist approach to music, which invents unexpected

poetic probing of puzzles and human forms.

symmetries through reversal and mirrored reflection, seems closely related to Sudduth’s approach to composing

Reviews of the 2014 Whitney Biennial have noted

repeated forms in her own visual imagery.

the exhibition’s important inclusion of several female contemporary abstract painters, including Marin County’s

Yet just as Schoenberg used a more personalized

Etel Adnan. This current exhibition of new paintings by

approach to rhythm to harness his atonal counterpoint and

San Franciscan Michele Sudduth reminds us that Northern

elicit psychological responses from his audience, so too

California has a rich and historically significant tradition

does Sudduth employ chromatic harmonies and contrasts

of abstract painting by artists such as Jay DeFeo, Sylvia

to spark emotional responses to her work. Sometimes the

Lark, Mary Lovelace O’Neal, and Irène Pijoan—and that

emotional responses that are triggered have an electric

one distinctive hallmark of their achievement has been

charge. Examples of this include her 2010 painting

a constructed tension between nonobjectivity and an

EXPLOSION FIXE, which explodes with shattered orange

inspiration drawn from unexpected shapes found in the

light, and her 2014 LONDON BUS, a centerpiece of the

visual culture of our contemporary world.

current exhibition. The latter work’s high-octane reds push forward into the space of the viewer like Matisse’s

Mark Dean Johnson

Red Studio, giving this work an immediacy of the now. In

Professor of art and gallery director,

other works from this series of frieze-like compositions, the

San Francisco State University

colors are softened with blended whites or complementary

May 2014

hues, and these mixed colors produce a tertiary space of tints and shades. This gives those works a quieter impact, although Sudduth’s masterful and subtle use of diagonal


MODERN BLUES | 2013 | 23 x 23 in.

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Detail

DUO | 2014 | 44 x 36 in.

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â–ś


DUO TWO | 2014 | 44 x 36 in.


TRIO | 2014 | 36 1/2 x 36 1/2 in.

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ABUZZZ | 2014 | 24 x 63 in.


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Detail

LONDON BUS | 2014 | 50 x 74 in.

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SUNRISE | 2013 | 24 x 24 in.


SEE SEA | 2013 | 24 x 24 in.

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NEVERLAND | 2014 | Each panel 30 x 22 1/2 in.


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Detail

STARRY EYED BLACK & GRAY | 2013 | Each 24 x 24 in.

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The title of my painting, EXPLOSION FIXE, is derived from a musical composition by Pierre Boulez called “. . . explosante – fixe. . .” which means something like an explosion fixed in the act of exploding. It embodies the dialogue between rule and imagination. I find this dialogue relevant to the balance I sought in my painting between a fractured image, almost flying apart, and the containment of the simple puzzle image. - MS


Detail

EXPLOSION FIXE | 2010 | 56 x 82 in.

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Detail

VELOCITY | 2010 | 56 x 82 in.

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In CELLOPHANE, I overlaid a somewhat symmetrical puzzle image onto an asymmetrical puzzle. The challenge then became how to get them to work together. Mostly I think this had to do with the curves. Curves seem to possess their own logic that grows out of the straight line long before the curve itself becomes evident. Something far back in a curve’s development determines where it is going to end up. It’s the balance between working with the will of the existing curves and bending them to my own will. - MS


Detail

CELLOPHANE | 2010 | 56 x 82 in.

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REMEMBERING BLUE | 2007 | 54 x 76 in.


STRING ALONG | 2008 | 56 x 82 in.

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Detail

SUMMERTIME | 2007-2011 | 24 x 24 in.

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BLUE SHIFT | 2003 | 54 x 54 in.


BOLDER | 2008 | 66 x 66 in.

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FIRECRACKER | 2008-2011 | 65 x 42 in.


JELLY BEING | 2009 | 54 x 54 in.

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These two paintings, CUATRO and IMAGINE THIS, share similar puzzle elements and yet they are quite different. Each is complete within itself but I like seeing them together, pushed up against each other, learning to live with their differences.

-MS

CUATRO | 2013 | 54 x 54 in.


IMAGINE THIS | 2013 | 54 x 54 in.

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MISSION BOOGIE In these paintings I use the image of a puzzle

the sketch onto canvas and begin fleshing out the final

piece to explore what I think of as a kaleidoscopic

painting; it’s a process largely driven by color. Brigit

perspective—a way of seeing that is continually moving

Riley once said that color is the most irrational aspect

and also capable of accommodating ambiguity.

of painting. What I think she meant is that color is often volatile and unpredictable and that’s what I love

When I first began incorporating the puzzle image

about it. I actively seek color situations in which I’ll be

into my paintings I thought of it as somewhere

surprised and required to see anew, differently. Often

between metaphor and the more formal qualities of

this unpredictability is what drives the emotional charge

its composition, but I was also intrigued by the latent

of the painting and ultimately defines its personality.

figurative aspect of the puzzle form. Now, beginning with the ROCK IT painting, the figurative element has

Michele Sudduth

emerged quite dominantly. It seems to me both human

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and architectural, inseparable from its surroundings, individualistic yet identical. The compelling narrative for me is the speed at which we’re moving—evolving too fast for a singular, static narrative. Like a kaleidoscope our individual perceptions shape and reshape what we see, as our focus shifts from one set of relationships to another. I begin a new painting with a digital sketch created by arranging, distorting, and morphing my own images and colors, relying somewhat on chance encounters to generate a structure for a new painting. I then project

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CHRONOLOGY SOLO EXHIBITIONS 2014

SFMOMA Artists Gallery, San Francisco, California

2010

Viewpoint, New Puzzle Paintings and Conversation with Mark Johnson, Director Fine Arts Galleries

San Francisco State University, Leese Street Studio, San Francisco, California

2000

Painting Circles, Artist Studio, deYoung Museum, San Francisco, California

1998

Michele Sudduth Paintings, Shaklee Building, San Francisco, California

1997

House Painter, Space 743, San Francisco, California

1983

Peace Tables, in cooperation with Intersection for the Arts, San Francisco, California

1977

Large Drawing, P.A.C. Gallery, Pasadena, California

1975

The Trailer, in situ Claremont, California

1974

White Room, One Womanspace, The Woman’s Building, Los Angeles, California

Green Room, R. Mutt Gallery, Van Nuys, California

1973

The Bag Show, Libra Gallery, Claremont, California

Tubes Performance, Libra Gallery, Claremont, California

Play Structure, Stebler Gallery, Riverside Art Museum, Riverside, California

SELECTED GROUP EXHIBITIONS 2013

artMRKT Art Fair, SFMOMA Artists Gallery booth, Fort Mason Center, San Francisco, California

2007

SFMOMA Artists Gallery, San Francisco, California

1999

Foundations, Olive Hyde Art Gallery, Fremont, California

1997

9 X 2D, Hollis Street Project, Emeryville, California

1983

How Shall We Travel in the Future, San Francisco Arts Commission Gallery,

San Francisco, California

1975

“Empty Room with a View” installation, Collage and Assemblage in Southern

California, Los Angeles Institute of Contemporary Art, Los Angeles, California


HONORS/LECTURES 2014

Fleishhacker Foundation Eureka Fellowship nominee, San Francisco, California

2001

IN /SITE Art Award nominee, San Francisco Museum of Modern Art, California

1999

SECA Art Award nominee, San Francisco Museum of Modern Art, California

Panelist, What is Art For? Oakland Museum of California, Oakland, California

1997

SECA Art Award nominee, San Francisco Museum of Modern Art, California

1982

Artist grant, The Peace Project, The Damien Foundation, San Francisco, California

1976

Lecturer, Space & Place, University of California at Los Angeles, California

1975

Young Talent Award nominee, Los Angeles County Museum of Art, California

BIBLIOGRAPHY Kyne, Barbara, “Home Sweet Home.” Artweek 30, no. 9, Sep 1999. “Michele (Sudduth) Betts.” The Print Collectors Newsletter, Jan 1979. McConnell, Miriam, “Michele (Sudduth) Betts—Alteration of Space.” Artweek, Jan 1974.

EDUCATION M.F.A. Claremont Graduate School, Claremont, CA B.A. California State University at Los Angeles, Los Angeles, CA

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CREDITS This catalogue includes paintings from the exhibit: MICHELE SUDDUTH RECENT PAINTINGS SFMOMA Artists Gallery, San Francisco June 7 - July 3, 2014 All paintings are acrylic on canvas, except: Pages 18 - 19, NEVERLAND, Acrylic on Panel. Photography by John Janca, ArtBot Photography, except:  Pages 28 and 40 - Michele Sudduth       This page - Carla Trefethen Saunders Catalogue design: Maria Figliola Design © Michele Sudduth 2014 michelesudduth.com


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Michele Sudduth Paintings 2014  

Catalogue of paintings, including exhibition at SFMOMA Artists Gallery June 2014

Michele Sudduth Paintings 2014  

Catalogue of paintings, including exhibition at SFMOMA Artists Gallery June 2014

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