Location: United States
After a successful career in sales and marketing, Su Knoll Horty began to paint, pursuing a lifelong ambition. Her love of bold colors and abstraction has been inspired by the work of Nicolas de Staël, Josef Albers, Richard Diebenkorn and David Hockney. In 2012, Su completed the CE Core Curriculum Program at the Pennsylvania Academy of Fine Arts. She continues her studies through Master and CE classes.
Su’s interest in the purity of color is evident in her bright and bold compositions. Exploring the power of color to elicit emotion, Su sees it as her task to convey the exuberance she feels when working with the pure colors in her painting.
Su is a member of the Philadelphia Sketch Club and received two Honorable Mention awards for her entries in the Absolutely Abstract shows, in 2012 and 2013. She was most recently honored to be a juror for the 2015 Absolutely Abstract exhibition. She has participated in two solo exhibitions, most recently at Bluestone Fine Art Gallery (2014) and Margot & Camille Optique (2011) in Philadelphia, PA and has had two, two-person exhibitions at Gallery 919 Market in Wilmington, Delaware (2009 & 2012). Su has also participated in numerous juried group shows at The Biggs Museum of American Art, Manayunk Roxborough Art Center, Hopkins House Gallery of Contemporary Art, and Cheltenham Center for the Arts, among others. Her work is held in numerous private collections, as well as the Camden County Art Bank in New Jersey.
Su is represented by Bluestone Fine Art Gallery in Old City Philadelphia.
Moving beyond the stain to a more fluid style of painting is what’s on Su Knoll Horty’s mind these days. The paint stain is still there during the inception of a painting, but it is more of a building block than a final presentation of schematic color. Gone too, for the moment, are the straight edges. Su is exploring fluidity, in all its measures: organic form, undulating movement, saturated ‘liquid’ color, and stylized gestural marks. It’s through fluidity that she finds color to be most expressive. The challenges of creating visual depth through vibrant color, along with subtle and not so subtle shifts in tone are the things exciting Su now in the studio, “The depth and unexpected form that comes from working with intense color is giving me great satisfaction and leading me into intriguing discoveries.”
Color relationships are still important to Su, as are tonal variations. With highly saturated pigments, building form through variation in tone is possible in new ways and presents a deeper ambiguity of space in the work. This ambiguity allows viewers to find what they will in the paintings. This is important for Su because she wants her viewers to find something they relate to in her work, making each viewing experience unique.
Su’s latest works offer an intriguing spectacle of color and form, which she calls ‘Color Pops’.
Moving beyond the stain to a more fluid style of painting is what’s on Su Knoll Horty’s mind these days. The paint stain is still there during the inception of a painting, but it is more of a building block than a final presentation of schematic color. Gone too, for the moment, are the straight edges. Su is exploring fluidity, in all its measures: organic form, undulating movement, saturated ‘liquid’ color, and stylized gestural marks. It’s through fluidity that she finds color to be most expressive. The challenges of creating visual depth through vibrant color, along with subtle and not so subtle shifts in tone are the things exciting Su now in the studio, “The depth and unexpected form that comes from working with intense color is giving me great satisfaction and leading me into intriguing discoveries.”
Color relationships are still important to Su, as are tonal variations. With highly saturated pigments, building form through variation in tone is possible in new ways and presents a deeper ambiguity of space in the work. This ambiguity allows viewers to find what they will in the paintings. This is important for Su because she wants her viewers to find something they relate to in her work, making each viewing experience unique.
Su’s latest works offer an intriguing spectacle of color and form, which she calls ‘Color Pops’.
Moving beyond the stain to a more fluid style of painting is what’s on Su Knoll Horty’s mind these days. The paint stain is still there during the inception of a painting, but it is more of a building block than a final presentation of schematic color. Gone too, for the moment, are the straight edges. Su is exploring fluidity, in all its measures: organic form, undulating movement, saturated ‘liquid’ color, and stylized gestural marks. It’s through fluidity that she finds color to be most expressive. The challenges of creating visual depth through vibrant color, along with subtle and not so subtle shifts in tone are the things exciting Su now in the studio, “The depth and unexpected form that comes from working with intense color is giving me great satisfaction and leading me into intriguing discoveries.”
Color relationships are still important to Su, as are tonal variations. With highly saturated pigments, building form through variation in tone is possible in new ways and presents a deeper ambiguity of space in the work. This ambiguity allows viewers to find what they will in the paintings. This is important for Su because she wants her viewers to find something they relate to in her work, making each viewing experience unique.
Su’s latest works offer an intriguing spectacle of color and form, which she calls ‘Color Pops’.
Moving beyond the stain to a more fluid style of painting is what’s on Su Knoll Horty’s mind these days. The paint stain is still there during the inception of a painting, but it is more of a building block than a final presentation of schematic color. Gone too, for the moment, are the straight edges. Su is exploring fluidity, in all its measures: organic form, undulating movement, saturated ‘liquid’ color, and stylized gestural marks. It’s through fluidity that she finds color to be most expressive. The challenges of creating visual depth through vibrant color, along with subtle and not so subtle shifts in tone are the things exciting Su now in the studio, “The depth and unexpected form that comes from working with intense color is giving me great satisfaction and leading me into intriguing discoveries.”
Color relationships are still important to Su, as are tonal variations. With highly saturated pigments, building form through variation in tone is possible in new ways and presents a deeper ambiguity of space in the work. This ambiguity allows viewers to find what they will in the paintings. This is important for Su because she wants her viewers to find something they relate to in her work, making each viewing experience unique.
Su’s latest works offer an intriguing spectacle of color and form, which she calls ‘Color Pops’.
“Color Pops 5”
“Color Pops 7”
“Color Pops 2”
“Color Pops 1”
