Suz Evans is a wistful peddler that just wants to practice the old clarinet under their bed, make a horror film, eat pickles and get back into printmaking. They have written some stage plays, a few of which have been produced.
Suz Evans writes absurdist stage plays and short stories and dabbles in smut, clarinet and fermentation.
Suz Evans is from Cincinnati, Ohio. They obtained their
BFA from Montserrat College of Art and are now based in Chicago. They are currently compiling their first chapbook of short stories and writing a script that might not get finished.
Suz works with the concept of phenomenology to explore both collective and personal human perception. Specifically they are interested how the language of identity creates associations in the mind. They are currently writing a play about MOIOULA, moments of intentional or unintentional live art. Moioula is very basically the art-potential of every life occurrences. Evans uses this idea as a tool of critical thought in order to examine the unstable areas of identity and art. Borrowing from other artists and from pop culture is a crucial part of their method of creation. Evans strongly identifies as a failure in the medium of performance art.
Suz's first full script was produced by Trap Door Theatre in Chicago, IL. They have also been produced at Trick Lock Theater in Albuquerque, New Mexico. Visual representation at the Lily Pad (Cambridge MA), the Crane Estate of Ipswich, SOWA open studios (Boston), the Boston Printmakers Biennial, and Roots and Culture (Chicago). They have unofficially made live work at places such as the Cincinnati Art Museum, Boston Museum of Fine Arts, Mass MoCa and Smith College Museum of Art.
Suz works with the concept of phenomenology to explore both collective and personal human perception. Specifically they are interested how the language of identity creates associations in the mind. They are currently writing a play about MOIOULA, moments of intentional or unintentional live art. Moioula is very basically the art-potential of every life occurrences. Evans uses this idea as a tool of critical thought in order to examine the unstable areas of identity and art. Borrowing from other artists and from pop culture is a crucial part of their method of creation. Evans strongly identifies as a failure in the medium of performance art.
Suz's first full script was produced by Trap Door Theatre in Chicago, IL. They have also been produced at Trick Lock Theater in Albuquerque, New Mexico. Visual representation at the Lily Pad (Cambridge MA), the Crane Estate of Ipswich, SOWA open studios (Boston), the Boston Printmakers Biennial, and Roots and Culture (Chicago). They have unofficially made live work at places such as the Cincinnati Art Museum, Boston Museum of Fine Arts, Mass MoCa and Smith College Museum of Art.
One day I am dabbling in collage and the next in poetry. I am a total drag. My absolute passion is writing for the stage. I'm a big dummy. I don't regret art school but I do resent my art school.
I'm being published right now, what the hell, is this real?
I'm having a hard time making artist statements that don't sound like bullshit, so this are some thoughts in writing that are not bullshit.
TOTS 4/15
The goddesses supply me the knowledge and power to create their images and share their potency with my audience. I have the same potion that Beyonce applies in the morning, the same tincture that Kahlo drank in her black coffee. My folks, my queers, my theys and ze’s and pers and all people -- PoWeR UP – for winter for springtime for the equinox
POWER UP for your passions, for your traumas. Do not delay, I will not stay here – we are leaving soon. The aliens and androids are being hunted, I dare say. Follow my lead, p-P-p-Power for your depleting bones and here is some forgiveness from the stars. Queers to the front.
I make paintings, performances, and other stuff
stuff
For me, for the people, for the metanarrative.
I Believe In It.
You know ?
Does it matter?
TOTS 12/14
aliens, teenage robots, sex goddesses, the origin story, futurism
those unobtainable utopian things, I'm making them with crayons
TOTs 10/14
Public project underway.
TOTs 10/14
I don't want make oil paintings. Right now I am reading and writing these things. I've been reading Adrian Piper quite a bit (makes me feel so political I love it). I'm making drawings and collages that are mostly about sex, personal super heroes, gods and my qualms with my recent education, painting frustration, etc. That's the kind of stuff that I make drawings about. It's pretty similar to the subject matter of my paintings. The difference is that I do not hold back any ideas when drawing in crayons on cardboard. Oil paint is really expensive, so my brush strokes are more calculated and I don't want to make economically driven artwork.
Thoughts on Top 10/14
Socioethnically, I grew up in the upper middle class of middle America. I left to attend art school immediately after graduating from high school. My upbringing was of the Christian faith and my lineage is European. I was taught to paint by second-generation Ab-Exers with joint pains and those unapologetic waggling beards. My professors taught me the discipline of painting, my distant ancestry. I am a lucky one; as if I was chosen to continue the tradition. Yet that is not why it flows so naturally from my brush to the canvas.
D.O.C. ___________
D.O.C. ___________
Formalities make me giddy, squeamish, lonely because no one looks at them here in this studio, where we are all alone for at least 20 more years, and then what? Formalities make me instagram, because they'll look at the paintings and heart my photo. Ah! Post-art school affirmation! Moments later I am nauseated by my behavior. This is a real feeling. I am freaking out about it.
Sometimes I put paintings away in my closet (last night) but I can’t bring myself to box up the oils and spirits. I place them on a display shelf so I remember that I can go back at any time, like a bad habit.
I’m moving on, moving on, moving on. I’ll make public works! I’ll do something different! I’ll no longer be the boobie in the bourgeoisie. But goddamn, my boobies are real.. oily and moody, and actually quite nice. Want to buy them?
None of this garbage is as useless as it is indulgent.