Foto on aluminum, 240x180 cm
The core of the exciting solo-show ,,SUSY GOMEZ: EL TIMON DE MIS ALMAS" (Susy Gomez, The Helm of my Souls), which was exhibited until June 21st in the Centro de Arte Contemporaneo in Malaga, Spain, is now being presented to the Austrian audience in the gallery Mario Mauroner Contemporary Art Vienna.
Susy GOMEZ's art is irresistibly feminine and sexy we see oversized long legs, beautifully formed bodies, exquisite fashion and elegant jewelry. She creates a heratic gesture of beauty, almost forcing us to kneel down before their exalted size and grandeur. With intelligence and sensitivity she is able to give poetry, individual life and a soul to the showy glitz and glamour of the fashion world. Inevitably, we think of the antique idea of the unity of beauty, the good and what is true. Beauty is not idealized, but always there, in each person and in each object. This beauty is revealed once by delicately applying gold or silver glitter, or by letting the thick paint crack into a crater-like landscape. It is with this technique that Susy GOMEZ opens up a game of deception between revelation and disguise, which hinders an explicit classification of content the spectator must call upon his own fantasy and intuition for an interpretation of her works.
The focus of this show is centered on the video instillation Now is Now, which addresses the theme of the family constellation. Freud's classical psychotherapeutic work method concentrates on the relationship between patient and therapist. His prominent colleague Virginia Satir, in her own technique of the family constellation practice, places the individual in the realm of familial relationships. In her version of the therapeutic method, problems and behavioral patterns, which have be carried through generations, are exposed, preluding the healing process. Not in solipsistic individualization, but in a group, even in a crossover of generations, an exchange takes place and in the end positive communication and healing can settle in.
Susy GOMEZ picks up this excellent approach in her video installation: ,,the previous generation was always `against'. I'm looking for the feel of life in the `together' and in the `yes' " (GOMEZ in the Spanish Vogue, April 2009). The video begins with an image of friends and family of the artist: they are grouped around a person and are holding each other's hands. In the family constellation, together they are searching for their individual and collective identities. The Bronze sculpture Mallorcan Shoes is to be understood in context with this impressive introductory image of the video: it is with the feet that we make our way through life and our shoes bare traces of our journey. But also the idea of being grounded is symbolically touched upon here. Susy GOMEZ's sculptures are to be understood as open metaphors, as symbols, which refer to fetishes, which give an impulse to a very individual and critical self-reflection. With her technique of the exaggeration of day-to-day objects, making inspired modifications and by placing them into an uncanny context, she awakes a refined sensibility and opens new perspectives.
Susy GOMEZ's art is simultaneously optimistic, profound and critical. She questions preconceived opinions and ideas of how something should be done and advocates a combination of reason and intuition. In terms of labeling and formalizations, she tries to discover individuality, which has to prevail in every even so rigid system or idea, with remarkable sensitive and artistic means. Her photography seductively encourages us to critically reflect views and values and one's own identity. In the end, the freedom of the spectator builds the focus of her works: Susy GOMEZ opens up room for a chance for living in the here and now, which can embrace the potentials and the presents of the here and now without fear, illuminating the poetry which exists everywhere and in everything.
Susy GOMEZ is an Icon of the Spanish contemporary art scene and can refer to many successful exhibitions, which have taken place all over Europe.