I used to collect all these bugs and things that would fall on the ground or come into the studio. I was having such a good time animals and insects. I was also thinking about women having been medics, herbalists, the ones who brought babies into the world, and how that was taken away from us by modern medicine, which doesn’t have a clue about our bodies. Or take risks, do things that are new or innovative. But then also how women get taken for granted: we are not supposed to have knowledge, or power, or intelligence. It really had to do with women pushing through all this stuff that we have to do. My body was going through a lot of changes, becoming fuller, and I was thinking about how a woman’s body becomes “out of shape,” but is also very powerful, and aggressive. Ever since I left art school, it’s been about adjusting the rules of art, taking the fundamentals and stretching them into something more exciting. As I’ve gotten older, I’ve let go of perfection. This piece is a little bumpy it is not supposed to sit flat on the wall. I always play with things a little bit, stretch them and have fun with them. But every element in this drawing is an abstraction, even the things that are supposedly recognizable. People expect realism, and they enjoy it, because it’s the pleasure of seeing something recognizable. You sometimes hear people say, “Oh, people who make abstract paintings do it because they can’t draw.” I think the opposite is true: for people who can draw, drawing is an easy thing-it’s something traditional and expected. I was really having a good time drawing this. It’s a calming therapy, a spiritual connection. At Frieze L.A., Suzanne Jackson Talks About Liberating Paint from Canvas and 'Having a Good Time with It'įor me, drawing is easy.
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