Suellyn Scoon, artist
Review of "Artist Preference"
With cool emotion and hot-butter focus, artist Suellyn Scoon, continues to ask questions that ultimately require a moral solution.
Scoon’s new series includes miniature landscapes with empty canoes and large portraits of females standing isolated in water.
She paints with oil on vellum or canvas with tracings of charcoal in an attempt to viscerally tie the image to the after-image. Painting over previously exhibited works she gives them a second chance, a second skin.
The inspiration for this series came from numerous photos sent to her from Scottish landscape artist, Ken Bushe. Gradually the city of Dundee, along with the climate of the Tay River merged onto these women as an analogy of skin as landscape. They were painted in a light tonality for the reason women use cosmetics.
When asked why she always places her figures in a state of isolation she said, “ I try not to give narrative to my paintings but to capture the moment that evokes a question from the viewer. “
Her last two exhibits at the Arts Council were: “Strange Fruit: Lynching in America, and “ Shifting Boundaries,” portraits of the children in her family.
Scoon, a self-taught artist, is a member of Lemon Street Gallery.
Racine Arts Council Review
March 13, 2010
Wild Art! Pull … Shoot!
Ingmar Bergman Crossed-Over on 6th St.
The October Shifting Boundaries paint and assemblage exhibit at Racine Arts Council, 316 Sixth St., was insidious under my psycho-skin. I felt captured in a cel of an Ingmar Bergman film.
Suellyn Scoon’s portraits of family members (captured off of family photos) are austere. These modern personnae are caught on the fringe between inner selves and imposed nothingness reality. Betwixt and between softscape and hardscape. Bergman’s Cries and Whispers.
Scoon’s assemblages are fragile, precise compositions of delightful family-archived bits and pieces, textures and toys, story and theatre. Bergman’s Fanny and Alexander.
by Boldslider, Freelance art critic