Susan Togut talks about her style of layered, dimensional, ephemeral and changing. She discusses how nature’s elements interest her for their beauty, accessibility and most important, their symbolic poignancy.
What type of art is your specialty & why? I work in diverse artforms, including indoor and outdoor environments, sculpture, dimensional wallpieces, murals, and stained glass painting. I am a public artist who orchestrates community-based projects as a sole artist and in collaboration with intergenerational non-professionals. My expertise lies in mounting these larger projects in the public realm. I also could describe myself as a mixed-media artist who works well with multiple dimensions. For my Art and Wine series I am creating dimensional wallpieces.
How long have you considered yourself an artist? How long have you been creating artwork?I’ve been an artist from my youngest years, working at first with fabrics and sewing, painting, etc. I have been a serious, confirmed artist since the beginning of college, around age 18.
Did you study professionally? Where?Yes, I am professionally trained. I entered a BFA Program, pursuing both Fine and Liberal Arts at Washington University, St. Louis. My major was new forms. I went on a few years later for an MFA at Pratt institute, Brooklyn where I became involved in installation work and public art. I worked for some years after that on inner city mural and environmental projects, as well as teaching projects in the NYC schools.
What is your preferred medium and why?I don’t have a preferred medium, but enjoy combining diverse media for different projects. I work with all manner of paint media, including transparent, stained glass painting. I work with a wide palette of natural elements, such as tree roots, branches, milkweed, bones, etc. I also work with man-made elements such as glass, metals, etc. I am particularly interested in ephemeral elements such as milkweed and glass because they allude to the fragility of life. Nature’s elements interest me for their beauty, accessibility and most important, their symbolic poignancy.
What is your preferred subject and why?I don’t have a single preferred subject. Over the years my work, in diverse forms, has become focused on cycles of life, death and regeneration. I am particularly interested in renewal and engagement with life through creativity. My extensive work as a public artist, educator and facilitator has evolved a path that seeks to open creativity for others to live fully with integrity and balance in an increasingly uncertain world. Clearly my art is my lifeforce. A recent solo exhibition was entitled, For Ascending and Always Creating….. This is my mantra.
How would you define your style?My style may be described as layered, dimensional, ephemeral and changing. It is not one clear-cut approach, but an integration of styles and approaches.
How do you feel your work has developed throughout the years? My work has developed comprehensively and cumulatively over the years. I have always created my own art, from plein air landscapes to outdoor installations. The range of work is listed in #1. However, to be noted, may be the integration of my work as an artist, educator and facilitator. My involvement guiding others to make art and at times, create collaborative, public art has informed my own art. From inner city revitalization work I have moved organically into the field of the arts and wellness. For the past seven years I’ve directed a Fine Arts Program for traumatic brain injured people. I have facilitated those touched by cancer, old age and disabilities for the past 14 years. It is no wonder my work is concerned with the fragility of life and renewal. It makes sense as well that I explore cycles of change, as I am doing with the six stages of wine making, in order to explore an idea thoroughly. For the Art and Wine project I am creating a series of mixed-media wallpieces about wine-making.
What is the best thing about being an artist? An artist thrives on creativity as one’s lifeforce. It is a kind of spiritual journey which may be described as one of the high points. An artist understands and enjoys the magic of the unknown. I love the unknown!
What is the worst thing about being an artist?I see no worse thing in being an artist, except perhaps the difficulty of making a living and securing funds to continue one’s work. Especially if the goals involve large scale projects, as they do for me, it can be extremely challenging to secure sites and funding.
What/Who inspires you?Artists who inspire me include Maya Lin, James Turrell, Ann Hamilton, Anselm Keifer, Magadalena Abramowitz, and others. Artists who have a large vision and manifest well integrated, multi-dimensional projects seem to compel me most. Lin’s projects are beautifully researched and articulated. Turrel’s work with light installations and his long-term project, Roden Crater excite me. Abramowitz’s sculpture and performance are very strong, but she is also initiating a center in Hudson, NY which interests me. These are artists with rich visions which they have been able to manifest in the public realm.
What advice do you have for aspiring artists? For aspiring artists I recommend making a commitment to their art as soon as the passion becomes clear. Create a life that supports total immersion in one’s creative process. Develop ways to make a living, connected to the work or not, in order to keep the art alive and growing, not bastardized.
What inspired you at the winery? Millbrook Winery inspired me because of its long tradition of wine making and innovation in the field, regionally and internationally. It’s grounds and vines are stunning; it’s Dutch barn style building, warm and inviting. The fact that it is interested in the arts, evidenced by its gallery and other factors, is certainly inspiring. Additionally, the winery’s owner, John Dyson, has innovated in the field of viticulture, while his brother initiated the Dyson Foundation, which does good work in the community.
How did you get your inspiration there? The tour was very helpful. Seeing how wine is made, including the oak and steel barrels, the beautiful vines, etc. intrigued my interest. Stacey Hudson, my contact person at the winery, was also very helpful, offering images about wine making and oak staves which I developed into frames. She has been very supportive on whatever steps have unfolded so far.
Do you plan your work carefully with sketches, photos and grids, or do you work with gesture and intuition? I work with some support, i.e.: photos from the winery, but I am much more intuitive in my process. Steps reveal themselves organically as I work with the materials and concepts. For example, holding the staves from the oak barrels led naturally to a concept for hardy, dimensional frames that are symbolically poignant.
Tell us more about your artwork created at the winery. I am creating a series of dimensional wallpieces about the six stages of wine making as described by Millbrook Winery. Guided by images and explanations provided by Stacy Hudson, I am collecting whatever natural elements I can, i.e.: harvested grapes, vines, corks and the staves already mentioned. I am creating dimensional wallpieces during stages occurring at the time of the art’s creation. I began with the harvest and am now working on the winter, dormant stage. When necessary I simulate the elements, i.e.: grapes made out of clay, or tiny vines created from natural elements on my property. The winter piece includes white scrim fabric and clear glass, elements I am introducing to simulate the winter atmosphere on the winery’s grounds.
What is most satisfying about making art based inspired by the winery? Most inspiring about this process is its serial and exploratory approach. I like learning about wine making while the process is expressed through the spectrum of my artistic vision. I enjoy all the materials and the possibilities and meanings they embody. I’m also enjoying the dimensionality of these works and the life-like results I’m achieving.
What is most frustrating about making art inspired by the winery? This particular approach is best served by making works as the particular wine making stages occur. Thus, I really need a full year to authentically create the works. Since the exhibitions start in the spring of 2011, I will probably work out-of-synch with a few of the stages that have not yet occurred. Regardless, I expect to continue the creation of works throughout the year. I see this whole project as a process of experimentation and exploration, rather than just creating works for an exhibition planned on specific dates.
