‘Like Degas, Wald sought out the stage as a subject for her art. Like Degas’ attraction to the ballet, Wald’s interest in the theatre is about the metaphoric space of the stage. Her subject is human nature, and she approaches its painful limits through the representation of the human body in the moment of performance’
‘The monotype allows her to translate the psychological revelation of the theatre into the symbolic language of light and dark. She works over the pale ghost Impression with brush and ink, adding thick layers of ink with a roller. The scene appears illuminated as though by a strong spotlight.’
Associate Curator of Prints,
Drawings and Photographs
Gallery of South Australia
You can find the complete article here.
In the 1990s, when Susan Wald was fresh out of art school, she took her sketchbook into the theatre rehearsal room, where she watched the young Melbourne director Barrie Kosky at work.
Kosky was developing a raucous and visceral epic called "The Exile Trilogy"(1993).Wald witnessed his fiery process, sketching as the director elicited elemental performances from his actors.Two decades later, Wald was back in the acting studio, this time sketching actors preparing for a dark and bloody production of Sophocles' play"Elektra"(2010), directed by another risk-taker, Adena Jacobs. Wald's new exhibition, Theatre Paintings and Monoprints, is the result of this twenty-year project.It features many small paintings, some moody monoprints and eight large paintings of solitary figures, who seem to be fashioned out of raw, sensory experience."
"As Wald explains, she seeks 'to make concrete the elusive essence of emotion, form and space.'Michael talks to the artist and to Adena Jacobs about the works and the theatrical experiences which have inspired them. The exhibition runs at the Langford 120 gallery until 10 October 2015."
You can find the Audio Interview here.