chicago

Susan Michod

Artemesia Gallery

In Susan Michod’s paintings—“metaphors to my feminism”—overlapping ribbon-shapes are juxtaposed, inverted, and turned inside out with few, if any, individually oriented boundaries. Shimmery close color-values cancel distance between figure and ground. Isometric perspective eliminates hierarchic structure and position. No particular unit excels as visual master.

A traditional climactic composition would arrange subordinate details around some unexpected, odd appearance, number, structure, or proportion. But in feminist terms, this mastery would symbolize an overactive personal control, possibly extended to a tyranny over others. Michod’s structuring, though still a system, replaces an internal Big Boot with an egalitarian Having Things in Common.

Making paintings is, in the first place, a fundamentally assertive gesture. An internal network might symbolize—as Michod’s PR puts it—“an absence

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