Jig Fly

Susan Austad, Jig-Fly (8 x 6 x 4″), Wire Sculpture, Tree Gallery, NY, NY, 2012

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Tree Sculpture, wire and wire mesh (12 x 8 x 5″), 2012
“Wind passes through, gathers up loose materials and deposits them in trees-as the remains of its energy.”

Relief Sculpture B

Relief Sculpture, Fuego I, gauges of painted, wire mesh, painted paper mache,    (58 x 60 x 22″) 2009.  These forms, dark, yet translucent are lit within by red and orange; they suggest elements of earth and fire–above and below a surface.

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Relief Sculpture: plastic and wire mesh, black paper, lights (13 x 16 x 7″), 2011.  A model for “Fuego” III.

Relief  with blue/purple light

Relief Sculpture: gauges of wire mesh, wire, paper mache, lights (58 x 60 x 25″) 2010

The forms, pale and translucent (with internal blue & white lights) suggest ice above and below the water surface.

Relief Sculpture 6

Growing, relief sculpture:  gauges of wire and wire mesh (10 x 6 x 3 feet) 2001.

NYU Venice 1974-2001, Artists & Angiola Churchill, 80 WSE Gallery, NY, NY, 2012.

I transpose industrial, scratchy materials into an environment that looks soft, shimmering and organic.  It is ephemeral, becoming-“change”-the consistent law of nature.

Painted Relief 5

Camino a Manabao, relief: muslin, newspaper, wire, brush, painted wood24 x 19 x 8.5″ 2000

Exhibited in “Stuck” The Influence of Collage on 21st Century Artists, Molloy College Art Gallery, Rockville Center, NY, 2006.

“Austad creates a sculpture that evokes the shapes of natural terrain, but which is created of materials derived from the mass destruction of nature (such as, newspaper along with cloth and papier-mache).  In returning newsprint, primarily associated with the communication of information, to an austere beauty that reflects it material origins, she reflects on the methods of our communication with the world around us.” (Curator, Suzanne Dell’Orto)

Relief Sculpture 7

Unconcealment Veiled, gauges of wire mesh, paper mache, florescent lights (54 X 68 x 16.5″) 2001.

Exhibition:  “Venice 2001 (Alumni Artists),” La Casa Italiana Zerilli-Marino Gallery, New York, NY

The work does not refer to a specific place, but suggests a presence within the forms. Structural material (wire mesh) also becomes surface.  It looks hand crafted, and through the paper mache process, translucent forms are transposed to meditations on volume, surface and light.  The surfaces are illuminated and/or dissolved.  Like a Tiepolo, it spirals upward.