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Suzanne Revy’s works on view this month at Aspect Initiative are from the series I Could Not Prove the Years Had Feet—a balance of interior and exterior views—her sons in quiet contemplation, and landscapes rendered in remnants and shadows. In this work Revy continues to document daily life with her children, although she notes that as they have become teenagers they have disappeared into the recesses of their rooms, altering the accessibility found in earlier works. As her works move from the openness of the outdoors to the privacy of the domestic, one gets the sense of space narrowing, with the subjects reflecting a pent-up energy in response. They may be still and contemplative in these images, but there is an implied straining to move beyond, a sentiment familiar to anyone recalling their teenage years.
Across series, Revy’s work grows and moves with her subjects. These images embrace elements of the natural world while Revy looks more intensely at her sons’ interior lives. There is weight to the images, and restlessness, capturing the idea that the boys are caught in the liminal space between childhood and adulthood. In beautiful pairings, fallen branches echo shadows across a torso, and the curve of an arm mirrors the ripple of a sheet. Shadows and windows are integral to the works, letting light through, as well as obscuring vision. Sometimes we cannot escape the feeling that we are just passing through spaces; Revy’s work suspends these fleeting moments.
- Jessica Roscio, Curator, Danforth Art Museum, contributor to the Initiative
Visit: Suzanne Révy
Suzanne Révy grew up in Los Angeles, California. After high school she moved to Brooklyn, NY where she earned a BFA in photography from the Pratt Institute. While there, she was immersed in making and printing black and white photographs. After art school, she worked as a photography editor in magazine publishing at U.S.News & World Report and later at Yankee Magazine. With the arrival of two sons, she left publishing, and rekindled her interest in the darkroom. She photographed her boys, their cousins and friends, and built three portfolios of pictures over a fifteen year period. The first, a black and white series, explored the culture and nature of childhood play. The second, made with a lo-fi plastic camera and color film, represents her own emotional response as mother and witness to their growth and development. The third, a series of color pictures made in her home as her teen sons seemed to retreat into their rooms as she studied for her recently earned MFA at the New Hampshire Institute of Art.
Her work has been exhibited at the Griffin Museum of Photography in Winchester, MA, the Fitchburg Art Museum in Fitchburg, MA, the Danforth Museum of Art in Framingham, MA, the Workspace Gallery in Lincoln, NE, the Camera Club of NY in New York City, the New Hampshire Institute of Art in Manchester, NH, and the New England School of Photography in Boston where she is currently a member of the faculty. She is represented by the Panopticon Gallery in Boston.