Rodgers’ 2003 Art in the Park submission grew out of her remembrance of a small abandoned house, isolated in a field. it had no obvious doors, no ways to get in or out. Rodgers’ abstracted version of that house is a three dimensional rectangle, with 8-foot sides and a pitched roof, floating on 4 thin legs, 12 feet off the ground. A frame of aluminum tubing defines the shape. The piece can be seen through, and walked around, but not entered or reached. her title for it, ‘Shelter,’ is an ironic turn of the screw.
— Joel Blair | Solaris Hill

Aluminum tubing | 20’h x 9’w x 8’d




Susan Rodgers’ ‘Dream House’ makes its own statement about culture and man’s condition. Earlier, I have discussed the formal virtues of this work. But seeing a house at the edge of the sea recalls certain contrasts that preoccupy man’s existence... Good art almost always have reverberations beyond itself. Those aroused by ‘Dream House’ begin from our basic emotional and cultural lives.
— Joel Blair | Solaris Hill

Plastic pipe and steel | 16’h x 7’w x 3’d

... Rodgers current entry in Sculpture Key West further illustrates the relation of site and art. At the Key West Harbor edge is her outline of a ‘Dream House.’ Seven lines define its profile. As one approaches, depending on the distance you are from the piece, the lower line (the floor) coincides with the distant horizon of the sea. Again, the site and the art are interdependent.



Susan Rodgers’ Sea Grass walks away with the show. Her piece is constructed of steel reinforcing bar and aluminum tubing. She welded a large grid of the re-bar and from the intersections rise aluminum tubes, 24’ high. The tubes, fastened only at the ground, are allowed to sway in the wind. The effect is hypnotic and the introduction of motion to her work is a logical progression from her wall pieces that shimmer with the illusion of movement.
— A.D. Tinkham | Solaris Hill | Photo: Art News March 2002

3/4” aluminum tubing attached to steel rebar | 24’h x 40’w x 40’d

Sea Grass is a site-specific sculpture designed to enliven the beautiful space it occupies without being too intrusive. Through movement, reflection, and shadow, the piece reveals the otherwise invisible shifts of wind and light while the spindly verticals provide a brave contrast to the powerful horizontal of land and sea... As a sculptor I find working in nature quite daunting. You can either fight it or join it. Here I have tried to join it, despite the good chance that it will knock me over.
— Susan Rodgers



Rodgers’ art demonstrates the continuing vitality of modernism. The work has the spare elegance of that tradition as well as the fun and play that mark some of the older 20th century artists. One thinks of the light gaiety of Calder rather than the dark brooding of Klein or Rothko. While Rodgers continues to experiment with different materials and shapes, there is a consistency in the power appeal of whatever she does.
— Joel Blair | Solaris Hill

Copper tubing and copper mesh | Five elements each 4’w at base and 24”h




Rodgers’ modernist aesthetic unites severity of form with imaginative freedom within that form. But, even with that freedom, she restricts herself to a minimalist use of materials. Working with industrial products, that for whatever reason, have lovely colors and unusual forms, she can focus on the arrangement of the material. - its appropriateness, its function as balance, its role as the dominant or auxiliary element in the composition... ‘Summer Fence’ currently on view at Fort Taylor, uses utility pole sheaths as a foil for the wind, a vertical counterpoint to the horizontal site, a color contrast to the sea and sky.
— Joel Blair | Solaris Hill

Plastic tubing and steel cable | 8’h x 42’w x 5’d




‘Tumbleweeds’ add a splash of color in the middle of the field. The translucency of the yellow plastic makes them a favorite to view at sunset. Wind activates them; you expect them to roll away at any minute! Best seen by Land or Air at any time of day.
— The Key West Citizen

Plastic tubing and steel | 7’6’ and 5’ spheres


Rodgers piece at Chesterwood is about saving nature, she explained. it is fragile but durable; it calls attention to its own vulnerability. She first did a piece like this in Florida, called “Seagrass” [see Seagrass above]. She set it on the shore before vast expanses of sea and sky, in violent winds, It had a very different feel, she said...
Rogers had to plant piping three feet deep and put rods in the pipes that her standing rods fit over. Every time she goes back, she said, the scene is different. The light and the wind change the piece. She managed to dig her pipes into the ground without hitting great numbers of stones. She has to check on it all the time to be sure all of the rods are still standing, and none have bent too far in the wind, she said. She has noticed that the thicker ones more often bend. The wind can spin the thinner ones, and so puts less pressure on them.
Working on this sculpture with tools from her red tool box, she was struck by the color contrast, she said. The red was so gorgeous out oin the field, she is thinking of designing a new piece with red transparent plastic, for a similar setting.
— The South Advocate, Kate Abbot, "Chesterwood Contemporary Sculpture 2001"



Rodgers’ signature is to compose industrial materials to create a foil for nature. Her meticulous construction and interpretation of the site, materials, concepts and audience is consistently astonishing. This piece, created for Sculpture Key West, is based on her love of the painter Piet Mondrian’s famous Modernist works. Rodgers works from studios in Key West and Lenox, MA, and is represented in prestigious museums, galleries and private collections throughout the country.
— Sculpture Key West | Curated by Mary Ceruti, Exec. Dir. of The Sculpture Center, NYC, Ny



Steel 20’ circle | Sculpture at Naumkeag



Iron and water 20’ circle


‘Red Squares’ is my second outdoor chequerboard. I like the formality of the grid as a foil for nature. And I like the way nature foils the format with shadows, reflections and falling leaves. In this piece I’ve also used plastic rather than metal which allowed me to rise slightly above the horizontal plave and to give ‘shape’ to the squares, which seem more sculptural and at the same time more playful and appropriate to a garden.
— Susan Rodgers



Painted plastic | 13 squares 24” x 24” x 4”d



Painted aluminum | 24”, 18” and 12” squares | 25’ X 50’ area

In piece after piece, it [this show] makes clear how art and site can become one and engage us in ways that are nothing short of brilliant ... Susan Rodgers of Lenox does much the same with floor tiles of yellow, red and blue set upon a carpet of leaves.
— The Berkshire Eagle, Charles Bonenti, "Chesterwood's 1998 Sculpture Show Blends Art and Site in Brilliant Ways'