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  • Immaculate Interpreters, oil on canvas, 32 x 36 inches, copyright ©2018

Immaculate Interpreters

99 words

This painting “appeared” to the painter a year ago as she walked along Seattle’s Marion Street in the direction of 18th Ave., where the Immaculate Conception Church stood behind a screen created by the branches of an embracing cherry tree.  The image brought to mind Camille Pissarro’s painting Les Toits Rouges, which can be seen in the Musee d’Orsay in Paris.  It is a painting made near Pontoise, France; a group of houses with brightly tiled roofs behind what the d’Orsay curator calls “densely intrusive vegetation.” Your local painter wanted to see if she could bring home some of the liveliness of Pissarro’s work. At the same time, she found herself intrigued by the Cezanne-like geometry of the neighborhood scene with its intricate web of diagonals and verticals.

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  • Demolition Man, oil on canvas, 36 x 42 inches, copyright ©2018

Demolition Man

28 words

October 2018:  Nothing stands now on the empty space at 14th Ave and Spring Street in the Central District.  One hundred and nine years prior to February 2017, that corner was occupied by the impressive brick, steepled building which became the Progressive Missionary Baptist Church after the United Presbyterians left in 1952.  These changes reflect the many demographic shifts which have characterized the CD from its beginnings (Jewish) to Asian (until World War II uprooted its Japanese population) to its isolated condition (African American), the result of red-lined areas south of Madison Street as well as the intrusion of Interstate 5, to its present gentrifying condition in what has become a hot real estate market for Microsoft and Amazon employees (until what next? in the shifting sands of late stage capitalism . . .).  "Demolition Man” documents a chapter in this evolution.  Soon the inevitable high-priced condominiums will rise.

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  • Gallerie d’Allée, oil on canvas, 32 x40 inches, copyright ©2018

Outsider Art in Gallerie de l’Allée

158 words

Mid-20th c., Jean DuBuffet declared that only artists uncompromised by the dominant culture were free of its nefarious influence.  “Art brut” or “raw art” by painters expressing themselves without formal training was “authentic.”  Later in the 1970s, “outsider art,” work produced without the blessing of “high culture,” was thought to be part of a “modern” movement challenging traditional values.

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  • Man Carrying Thing, oil on canvas, 32 x 48 inches, ©2016

Apparitions of Christmases Past

516 words

Fortunately sueperry-paintings is a path selected by few; otherwise its proprietor would need feel even more reprehensible for its neglect since March 2015 when the last post was made.   Be that as it may, it’s time to put regrets aside.  As a way of re-establishing a foothold in the present, she thinks (on this snowy day in Seattle) to step back and review the Xmas cards familiar to many readers as illustrated Holiday Greetings from Sue and John in the years 2015-2017:

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ABANDONED COUCHES and URBAN SPRAWL

240 words

Purple Couch, oil on canvas, 32 x 38 inches, copyright ©2013


The two months in Paris this year yielded six new Seattle paintings now in process and still in the studio. This strange spread of paint over the globe began last year, 2012. The results of that initial effort can be seen at the Sisko Gallery beginning January 2, 2014, where John Sisko, its proprietor, is hanging an exhibit titled “Seattle: Changing Times.” It focuses on my work dated 1998 and 2012/13 and is therefore a backward look with a gap omitting the Paris years.

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