Susan Sills

Susan Sills is an American artist enthusiastic in the international art scene back the in advance 1990s. Although she has created abstract ink drawings and painted commissioned portraits, Sills is best known for her life-size painted wood cutouts based on the Old Masters. Sills has produced greater than 100 stand-in wood cutouts, and finds campaigner ways to bring these renowned icons of art into the gift day. Her work is found in collections in Japan, New York City, and throughout the United States. Sills has had 20 solo exhibitions and participated in numerous outfit shows. Sills is based in Brooklyn, New York.

Most of Sills's ham it up consists of life-size wood cutouts of Old Master subjects. While preserving the environment and style of each iconic figure, she reimagines it in the context of today's world. As noted by Marilyn Becker, Sills's works have been "painstakingly painted in the style, technique and reveal of each of their originators." In order to bring each two-dimensional tone into a three-dimensional space, Sills reproduces them on the scale of actual humans and surrounds them later props, some of which are intentionally anachronistic. For example, her wood cutout of Princess Margarita from Diego Velázquez's Las Meninas is the similar size as a genuine child. Sills's cutout of the youthful subject from Édouard Manet′s The Fifer (1994; Rowan University Art Gallery, Sylvia Sleigh Collection) is then the similar size as a real child. In Utamaro, Utamaro, I'll See Utamaro, Sills's cutouts of Kitagawa Utamaro′s Geisha bearing in mind String and Geisha bearing in mind Mirror are "seated" on a real straw mat past a few empty McDonald's containers, two blank Pepsi cans, and pairs of chopsticks. The two life-size figures are painted in Utamaro's style, but reimagined in the context of the 21st-century world of fast food and carbonated beverages. In After Rivera, The Flower Carrier, the man from Diego Rivera’s painting is kneeling upon an unnatural patch of grass and flowers. Another work, What Sybil Saw, features the prophet from Michelangelo's Delphic Sybil. At her feet are several scroll-like photographs of David, which were obviously not a ration of Michelangelo′s original.

Although artists have been painting “after the Old Masters” for centuries, Sills “has been ascribed as owning the art form of the painted cutout.” Ed McCormack has suggested that Sills's cutouts show “how good works of art come into our lives to stay” and “make the world a enlarged place by their presence.” Her be active demonstrates that “the discharge duty of painters long dead can continue to have a valuable presence in the vivaciousness and take steps of contemporary artists” and that even in the 21st century, artists and listeners can locate a way to relate to art from centuries ago.