"Unrein's paintings are like Fragonard on acid." -- Hampton Fancher
10/18/18- Three of my paintings will be in the latest MitteHaus group exhibit, Mitte Projects, Cocunut Grove, CA
7/31/18 -Heading to the Can Serrat Residency in Le Bruc, Barcelona, Spain
6/5/18 - Kathryn Williams interviews me for Radio Gabriel - https://www.radiogabriel.com/single-post/Suzanne-Unrein-Painter
5/18/18 - Two new paintings in the group show at Mittehaus, Mitte Projects, Miami, FL
3/2/18 - Elizabeth Johnson's wonderful review in Delicious Line of my exhibit, "Animal Dreams" at Groupe - https://deliciousline.org/review/214
2/15/18 - The opening of my exhibit, Animal Dreams, at Groupe, 198 Bowery - http://www.groupe.nyc/discover/groupe/the-gallery/.
Here's a snippet of a Q&A I did for the show-
GROUPE: Tell us about the paintings that will be on display at GROUPE. What are the underlying themes that you’re exploring?
SU: The further we advance in our technology the more separated we become from our roots, our nature; whereas these works play in a prelapsarian time of innocence, including unease and an underlying violence.
GROUPE: Which artists inspire you?
SU: I have an attraction to the Baroque and Rococo. I’m particularly drawn to Rubens, Tiepolo, and the animal painter, Frans Snyders.
GROUPE: Your work has been described as “Like Fragonard on acid.” You’ve used a much more vibrant palette in your current series. Why? And how does color play into your work?
SU: It’s true. These paintings have a heightened sense of color. I started working with acrylic markers on paper and the vibrancy seemed to reflect the conflict and chaos that currently pervade politics and culture. In 2017 I was in Indonesia at a primate reserve and spent time with a group of playful macaque monkeys. At one point they were crawling over me like a jungle gym. It was ecstatic, mesmerizing. The intensified colors reflect the energy and unease of that situation. I want to see how far I can go with these color combinations, to occupy a territory between harmony and discord.
GROUPE: You have a very distinct brushwork. How would you describe your painting style?
SU: Gestural painting that form bonds and break connections between abstraction and representation.
1/19/18 - 7-9pm, my painting, Crazy, is in the art exhibit/record release party for Inara George's Dearest Everybody at Hollywood Forever. Tickets and more info here
11/11/17 - Great write up and online curation of my paintings at The Gathered Gallery - https://www.thegatheredgallery.com/single-post/2017/11/01/Suzanne-Unrein New York City based artist Suzanne Unrein creates vibrant works that explore paint, the animal form, and human nature. Unrein's work is saturated with bright colours built up by layers of quick washes. The brisk, energetic lines and colours create a dramatic sense of tension within each piece. The mark making is loose and flowing, blending to create a muddy atmosphere. Unrein's unbound sketches reveal the process behind resolved final paintings. This starting point is evident in the finished work, as paint is treated almost as a drawing material on the surface of the canvas. Soft and hard lines push back and forth, causing subjects to emerge from and sink into the background. When pushed forward, these subjects reveal human and animal figures within wild, unruly landscapes. These works reflect the connection between animals and humans, and shine a light on the acknowledged bestiality within human nature. Suzanne Unrein's captivating body of paintings invite us into a pastel world of animalistic chaos. Although they are effectively prepared and planned, we love how each piece is able to maintain its spontaneous, free-flowing nature.
Just discovered the short film about a critic viewing my paintings, Hands & Eyes, directed by Michael Meredith, starring Richard Edson and Hampton Fancher, on youtube: https://www.youtube.com/watch?v=jRYfaHBrX-A
Work and "Rapid East" painting discussed in "Perceptual organization in visual art", in The Oxford Press's The Handbook of Perceptual Organization, edited by Johan Wagemans. pp. 914-16. http://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780199686858.001.0001/oxfordhb-9780199686858