Growing up in Appalachian, the strange beauty and impermanence of nature seeped into and permeates Suzanna Fields' work. Hyper-intricate paintings layer idiosyncratic forms drawn from natural structures until they become their own humid amalgamations in a suspended state of disintegration or growth. Pouring, extruding, and layering paint, ink, and mediums, she uses unconventional painting processes to reveal the beauty of failed order. Tactile accumulations bubble with intricate repetitions and deviations that echo the precarious density and barely-there order in the world. Mirroring both the macro and the micro, these organic forms sometimes seem to map psychologically- tinged inner landscapes, that suggests both the connectedness and strangeness of our experience. The layered work invites viewers to participate by making own connections between forms in nature, from satellite imagery to microbiology. An intermingling of contemplation and spontaneity, biology and fantasy, and humor and pathos, these saturated paintings explore the tension between the foreignness and the familiarity of the natural world and how it persistently weaves its way into subconscious experience.
Fields is the recipient of a Bethesda Painting Award and a finalist for the Trawick Prize. Her work is in private and public collections including the Eleanor Wilson Museum at Hollins University, Capital One, Philip Morris, U.S.A., Retail Data, LLC, Kathie and Stephen Markel, Bill and Pam Royall, and Shepard and Amanda Fairey. Exhibitions include the Weatherspoon Museum of Art, Greensboro, NC, The Taubman Museum of Art, Roanoke VA, the Laurel Rogers Museum of Art Laurel, MS, the University of Southern Mississippi Museum of Art, Hattiesburg, MS, Hollins University, Roanoke, VA, Old Dominion University, Norfolk, VA, Irvine Contemporary, Washington DC, and the Contemporary Art Center of Virginia, Virginia Beach, VA. Raised in Abingdon, Virginia, Fields now resides in Richmond, VA.