I appreciate effort, patience, and layers of meaning in art. I enjoy the creative process and look at nature and filter its power and infinite range of texture and color. I see my art evolution, one phase after the other, generating momentum with new thoughts emerging and becoming visual presence.

My capacity to record change has employed materials like: inked papers, paints on canvas, popsicle sticks, pink leatherette, brass wires, copper, colored & clear glass. I feel, at times, I am working both frenetically yet in slow motion, active and aware in the making act.

Often, my art projects offer my reaction to a specific event, translating my version of a “what just happened?” moment. An example is from the exhibition Sardines. A moment in 1992 records my encounter with a pregnant, homeless woman who was crossing the path of two other women who were walking their dogs in John Jay Park in New York City. Following this experience, there emerged a series of paintings imagining the view of each person sharing this temporary, 10 feet diameter circle.

Attraction explores three revolutions on a tall Ferris Wheel at Great Adventure Park, in Jackson, NJ., that I shared with two teenagers and their mother exhibiting extreme panic from her fear of heights. Back in my studio, I built a 3 feet tall Ferris Wheel model (with popsicle sticks for struts, pink leatherette for seats, and other materials) and then photographed the finished work.

I xeroxed this Ferris Wheel image onto an acetate and superimposed it on the Northeast sector of a map of North America, aligning one seat in Jackson, NJ, one seat in my studio in Sherbrooke, Québec and the other 26 seats onto cities thus randomly selected. I then reached out to people from certain of those cities, including Cleveland, OH, Boston, MA, New York, NY, and Ville-Marie, Téminscamingue in Northwestern Québec, to be models of the “riders” on this gigantic conceptual wheel.

I don’t determine at the beginning of a new image or project just where it will lead me. I trust the method and the hard work and the viewer entering my work. While working my monoprints, I used multiple layers of ink, sometimes 6 or 7, always looking for transparency and qualities of light within the overlapped colors. When viewing my print E=MC2, some people saw a cathedral being built, while others felt a wall was being destroyed. These layers of ink can parallel the layers of meaning interpreted from my art.

My curiosity:
• The light reflected by the glass medium.
• The fact that I am still around, and you are too.
• Everything I don’t yet know.

With glass as my new medium I continue working with transparent colors, but find the light shinning through it as very playful. It makes me breath deeper and I want to share this sensation. The process requires many transformations. It involves time, proper heat, multiple firings, courage, and patience. I employ the play of light and the optical mixing of color to release the play of meaning and the human interpretation of sensibility. This is a chance to harness the sun.

Thank you for being around and supporting my work.

Suzanne Fortin February 2013

artist statement