EPIPHANY OF LIGHT | Susan Fenton (1949-2018)
Miguel Flores Castellanos
 

“…the noblest kind of beauty is not that which bursts forth and captivates immediately, not the
tempestuous and intoxicating kind […], but rather the one that penetrates slowly, the one we
carry with us almost without realizing it and that one day appears to us in dreams; the one
that, in the end, after having long and modestly dwelled in our hearts, takes full possession of
us, fills our eyes with tears and our hearts with longing.” —Nietzsche 1

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Nietzsche’s words are the best definition of why Susan Fenton’s work never leaves the viewer indifferent—it becomes one's own. First, it stirs admiration, and then it provokes reflection on what is seen and how it is seen. She, as this philosopher suggests, has launched “the slow arrow of beauty.” These photographs pierce the viewer’s heart, revealing simple things whose essence is often overlooked in daily life.

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The presence of beauty in these works is undeniable. Fenton refutes Tristan Tzara, who in the early 20th century declared, “…a work of art must not be beautiful, or it is dead.” These photographs prove the opposite. These works of art are alive—in their iridescent color, one can almost touch the objects in silent dialogue, almost smell the scent in the scene, evoked by fruits or incense.

Like certain birds that display the brilliance of their feathers to attract a mate, Fenton’s photographs initially draw the viewer in with the poetry of color. But slowly, before the viewer’s eyes, unfolds the epiphany of light. From semi-darkness, objects begin to emerge thanks to the strategic lighting that becomes a character in itself, animating the colors that are incarnated in each of her pieces. Deeply knowledgeable in art history, she uses light as a powerful tool. It seems Caravaggio is her guardian angel, guiding her gaze and the composition of each photograph.

In a recorded interview, Fenton allowed us into her creative process. She can be seen directing the viewfinder of her Hasselblad camera at small scenes crafted in her Philadelphia studio. It feels like she is immersed in a cabinet of curiosities: a bird’s nest in her hand; a dry branch here; a plaster bust there; tiny shells over there. Beyond showing how she creates her images, Fenton clearly expresses her interest in collecting objects she sees as having a peculiar aesthetic value.

This latest series was created in Guatemala, during a stay in La Antigua. Driven by her urge to make images, she improvised a studio and turned her attention to things locals might consider trivial. Hence the presence of the mango, the pacaya flower, maxán and banana leaves, a rustic handmade wooden stool, fabrics, and colored ribbons. All these elements come to life and gain presence through light, acquiring meanings for the viewer to uncover. Fenton makes us reflect on the arrival of light and its consequences on objects, which she paints with light and, in doing
so, engages in philosophy.
 

This collection of images is a swan song. They are the last works Susan Fenton created—now lovingly shared by her family.

 

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1. Nietzsche, F. (1986). The Slow Arrow of Beauty. In Human, All Too Human - Editores Unidos de México.
2. Tzara, T. (1999). Seven Dada Manifestos. Barcelona: Tusquets Editores.
3. Thornton, J. (2012). Susan Fenton, fotógrafa. https://youtu.be/5_-TFaVv2oo?si=9TnRLb9CIBrVuGD3
4. Schmidt Dean Gallery.(2010). Susan Fenton pinta con luz. https://youtu.be/M497H6VEiVM?si=JShfkPerMgYUibBy