Susy Gómez
Spain, 1964
Susy Gómez studied fine art at the University of Barcelona. For a period of three years, the artist combined her university studies with fashion design courses at the Escola d’Arts i Tècniques de Catalunya. Susy Gómez’s professional career began in 1993 with her first solo exhibition in the Espai 13 at the Fundació Joan Miró in Barcelona. Entitled Sense títol, the exhibition was the first indication of the artist’s intention to open her work up to every kind of interpretation. All she asked of the spectator was to keep their perception thoughtful and serene while engaging with the work. From the very beginning, Gómez’s work was characterised by how she used a wide variety of languages, which she chooses based on their expressive potential. This choice has led her to work with all kinds of material as well as to evoke the complexity underlying the most private emotions of the individual. In 1994, Susy Gómez presented her second solo exhibition at the Luis Adelantado gallery in Valencia. Despite having the same title as her first show, it represented a very important step forward in her use of other expressive languages: it was the first time the artist worked with large-format photographs spread across the floor (altered or transformed through the use of paint or computer technology); tables comprised of small sculptures, objects or forms made to function as springs; transferred images or drawings applied directly to the wall, etc. Given the diversity of her work and the languages she uses, it becomes necessary to consider her art not only in terms of what makes each individual piece interesting, but also in terms of the discourse the artist expresses with each artistic intervention. Set on revealing different aspects of her identity and questioning the fickle nature of the spectator’s subjectivity, Susy Gómez added a new thrust to her work in 1995 with the exhibition (mi:), shown at the Giorgio Persano gallery in Turin. The artist proposed a series of sensations that invited the spectators to explore desires as vital stimuli. She did so through the use of materials as varied as glass, artificial hair, plaster, iron, ink, wood, cloth, real flowers and her by now almost indispensable large-format photographs. Since then and leading up to the present, the artist has had several exhibitions in which she presents her work as a sort of mental “striptease”. She allows different aspects of her thought process to fall before the eyes of the spectator through artworks that are consciously seductive.
Frederic Montornès