Susan Reedy’s works on canvas have developed in response to exterior surfaces often seen in urban areas that are in a state of flux due to the passage of time, exposure to the elements, and neglect. Reedy is particularly drawn to those surfaces in which newly accumulated layers of paper and text are partially torn away to reveal portions of what lies beneath the surface, alluding to remnants of the past and the present simultaneously. The unconventional beauty of these exterior surfaces lies in their transformation as they become a visual recording of the passage of time; layers of text and imagery emerge and recede, creating a palimpsest record of posters, fliers, graffiti, and accidental mark making.
The work is fabricated using vintage and contemporary ephemera such as segments of posters, dictionaries, musical scores, and magazines used in combination with acrylic paint and various drawing media. Layers of paint and paper are built up then partially stripped away, exposing portions of the layers beneath. This process is repeated, often in many successive layers. This additive and reductive process results in an expressive surface that is rich in both altered imagery and text.
Susan Reedy’s work has been exhibited nationally and internationally at galleries and museums including the Albright-Knox Art Gallery, The Border Project Space, MERZ Gallery, Pierogi Gallery, Equity Gallery, Islip Art Museum, Concord Center for the Visual Arts, OK Harris Gallery and has been featured in ArtMaze and Kolaj magazines.
Her work was selected for inclusion in Luis Camnitzer’s project “The Last Book”, Molly Sampson’s public art project “Post No Bills” and is in multiple collections, including the Castellani Art Museum, Memorial Art Gallery, Mobil Corporation, and Roswell Park Comprehensive Cancer Center.