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Fine draughtsmanship is the heart of this sculpture. The artist makes the illusion of movement by subtly manipulating the linear elements of the work and the illusion of the movement of light over form by the rigorous control of cast shadow within and among all of the work’s components. These are some of the means; the end result is the manifestation of a personality in which a lyrical impulse contends actively with the will to contain it.
In her welded sculptures, one sees very quickly evidence of an inner strength coupled with a lyrical outlook.
The work with its combination of straight and curved, linear and solid elements has a balletic grace. It reminds you inevitably of Anthony Caro’s more linear works but is lighter in tone. In their witty way, they also remind you of Calder.
Susan Rodgers’ elegant steel sculptures allude to movements of the body.
With her exhibition at the Gruenebaum Galery, Susan Rodgers has established herself as one of the best steel sculptors around. She works with scraps that she finds mainly in junkyards. She lengthens or shortens, twists or bends the steel, but leaves it fundamentally unaltered. Soe scraps are welded together, others left unjoined: this fluent, confident, seemingly harmonious vision is filled with absence.
Rodgers sculptures are made primarily of strips and ribbons of weathered and treated steel (sometimes “found” shapes of varying origin), which afford her a light, flexible method of drawing in space. The works look natural and inwardly harmonious: They refer to a country lifestyle - not a city one.
Susan Rodgers’ work illustrates the wondrous transformation industrial sheet metal can undergo when it is in the hands of a skillful sculptor. Rodgers uses junkyard scraps and ribbons of weathered steel to create fluent, harmonious, and remarkably delicate pieces. Virtually drawing in space, she twists, bends and welds the steel strips together but leaves them fundamentally unaltered.
Rodgers’ metal sculptures are light, open and space-enclosing. They are the quintessence f modern drawn in space sculpture. She comes out of the solid sculptural tradition of Roszak and Agostini, but her wok has more in common with Calder and David Smith in its linear playfulness, a sort of now-you-see-it now-you-don’t, manipulation of space, shaped by the shaply cut lines of metal.