Inside the Studio: Suzanne C. Nagy
- Art Dealer Street
- 4 days ago
- 5 min read
Updated: 4 days ago
Suzanne C. Nagy's art is not just about creating beauty; it’s about delivering a message—one that encourages us to reflect on the environmental crisis and the urgent need for sustainability. As an artist with a diverse background that includes both visual arts and film, Suzanne has cultivated a deep commitment to using her creative voice as a tool for activism. Throughout her career, she has used various mediums, from installations to performances, to convey powerful messages that urge us to rethink our relationship with the planet.
Her work, such as her notable piece Fish Kill, presented at the Venice International Art Fair, blends artistry with science. It addresses critical issues such as ocean pollution, sustainability, and the impacts of human activity on the natural world. Suzanne’s art is a fusion of beauty, activism, and a passionate fight for environmental preservation.
In this interview, Suzanne shares her journey as an artist, curator, and environmental advocate. She discusses how her art continuously evolves to reflect urgent ecological themes and how the fight for sustainability is deeply woven into her artistic practice. Through her work, Suzanne hopes not only to capture the beauty of the world but to challenge us to protect it. We dive into her creative process, her challenges, and her vision for the future of art and activism.
Read on to learn more in an exclusive interview with Suzanne C. Nagy :
1. Your work often addresses environmental issues through various mediums. Can you share how your background in film and visual arts influences your approach to environmental storytelling?
Originally, I finished my first collage in Budapest as an economist. During the socialist era, pollution was so dominant in all Eastern European countries that when I moved to New York in 1978 and studied art, I decided to devote my time to fighting against pollution. Now, I am fighting for sustainability.
2. In your installations and performances, you incorporate elements like video and live art. How do these mediums enhance the message you're conveying about our relationship with the environment?
I work with almost all media because, as my second degree in Hungary was in film and producing, I never lost interest in pushing my boundaries across all fronts. Once you know how to create films or other media formats with viable messages, it becomes easier to create art. You just have to stay true to your original subject.
3. Your piece "Fish Kill" presented at the Venice International Art Fair is particularly striking. Could you walk us through the concept and the emotions you aimed to evoke?
Science is where I get my credibility. Fish Kill is another dramatic turning point in ocean management. Oceans produce half of the world's oxygen, which we desperately need after trees. The life of us and the ocean creatures—fish, corals, weeds, etc.—all need oxygen. If we continue trashing the oceans, we lose this vital life line.
4. As a curator and artist, how do you balance the roles of creating and organizing exhibitions? Do these roles inform each other in your practice?
Yes, absolutely. For example, I am part of a non-profit artist community in Budapest that helps orphans living in orphanages not only become good artists but environmentally conscious, important artists. The group is called "The Talent Deserves a Chance," and we show their works at the Budapest Art Market. But I am also part of other exhibitions in Hungary. This is how I give back for all the success I have achieved. As a curator, handling important and unknown artist collections has taught me how to sell art and how to spot good artworks. This knowledge is essential.
5. Sustainability seems to be a central theme in your practice. How do you ensure that your materials and methods align with your environmental values?
I try to live the way I fight against ignorance and live according to my beliefs. Consume less!!! This is key if we want to understand the problem. If we use less from all fronts and reduce our needs, we can help the Earth. This may sound simple, but it is actually very difficult to implement.
6. Can you discuss a particular piece that challenged you both technically and conceptually? How did you overcome those challenges?
If you open my website and see the different media I’ve worked with, it will tell you that I am always in search of new ways of expression. Why? Because the issues I am confronting need different dialogues. For example, at one point, I had to construct light panels for my tree projects, using LED lights. I had to build two-level panels—one for lighting to contour the shape of our heart and the top plexiglass filled with crystal beans, where the story unfolded inside our heart. My goal was to present the reality we are facing: the choice between taking care of our environment or losing control. The light panels were shown in the Ludwig Museum Budapest, where two panels showcased the problems—one representing a positive outcome, and the other, a negative. The choice is ours.
7. How do you see the role of art in activism, especially concerning pressing environmental issues?
It’s a tough choice to create work for the environment, but I have been doing this seriously since 2000. I started in 1980, but now I work four days a week on art, constantly reading and studying. I guess my DNA is filtered with these issues. I can't imagine living any other way.
8. Looking ahead, what themes or concepts are you excited to explore in your future projects?
Now, I am thinking about exploring even bigger ideas. In our cyclical evolution, there are basic rules like spirals and circles. There are mathematical repetitions in nature, with forms and shapes that follow returning patterns. Humans and science have adapted many basic rules that nature has already perfected. This excites me—to study and create art around these concepts.
As Suzanne C. Nagy’s artistic practice continues to evolve, her unwavering dedication to environmental activism remains at the core of her work. Through her dynamic use of various media, she not only captures the beauty of the natural world but also confronts the pressing ecological crises of our time. From her early days as a collage artist in Budapest to her transformation into a multimedia environmental artist, Suzanne’s journey is one marked by passion, purpose, and an unyielding commitment to sustainability.
Her installations, performances, and sculptures invite us to witness the intersection of art and activism, creating powerful statements that challenge us to think about the world we are shaping for future generations. Suzanne’s works, such as Fish Kill and her other environmentally-driven projects, force us to confront the consequences of pollution while also offering a glimpse of hope and resilience through the beauty of nature.
As she continues to explore new ways of expression, Suzanne remains at the forefront of using art as a vehicle for change. Her exploration of nature’s repeating patterns and the mathematical rhythms inherent in the natural world serves as a profound reminder that the Earth has perfected its own systems, and it’s up to us to protect them. Through her work, she encourages us to not only think about sustainability but also to take action.
Looking ahead, Suzanne’s focus on creating larger ideals, inspired by the cyclical rhythms of life, promises to deepen the conversation around environmental stewardship. Her work will undoubtedly continue to inspire those who encounter it, urging us all to reflect on the impact of our choices, not just on the environment, but on the world we leave behind for future generations.
You can learn more about Suzanne C. Nagy and her work via these links: Website: https://suzannecnagy.com/ Instagram: @suzannecnagy Facebook: @Suzanne C. Nagy Saatchi Art: @Suzanne C. Nagy
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