Susana and her carrousels
Where does this painting neo-postsurealist or neo-post diluvian that with an arrangement 01 a autobiographic uncontrolled vision and almost from the inside of her non voluntary disposal of all school or fashion, presents us now alter a season in New York, returning to Caracas is Susana Attías? In what fashion tendency can we place her, for those like us that love to define, more than what they really define?
I have seen her painting method, her behavior and if we can say so, her gesture in front of the prop (size does not matter) and for more that I have tried to find out the possible origin or the affiliation of her work within the usual reference molds of avant-garde or of untamed art, I have not obtained from her any answer but silence and her vital coincidence of her configurations. Susana Attías has seen in effect very many paintings (we shall not deny this) and even though she has not followed instructions or the advice of any teacher, at least we know that for some time she has been a student of the Art Students' League of New York. Where with efficiency, the spirit of gestures of Hans Hofmann still lasts.
From there I gather (faced with the lack of concepts in a cultural hyperabundance as we have today) that we have painters, particularly those, like Susana that know how to make their paint brushes and brushes of their instincts for those of us that call modernism or postmodernism besides lacking of sense, is reduced by them to a present without a memory to a unstoppable heartbeat in which they live their own way. They are painters that due to a perfectly welded to their sensibility mechanism have never been closer to themselves and of the truth that when they look at the canvas in front of them is like a possessive mirror in which nothing more than what they do and they can only see. This is what takes us to think that sometimes critics loose a lot of precious time trying to explain that which the painter, having taken it out of himself or herself has answered without having sought in any way an explanation.
Extracts "Susana and her Carrousels"
by Juan Calzadilla