A collaboration (in progress) with Spanish artist Leticia Sampedro using film, installation, and live performance to recontextualize the Holy Trinity through a feminist, Earth honoring lense.
MOTHER MEN is a performance art piece (to be!) that investigates the male relationship (including trans men and non-binary beings who identify with their assigned-male-at-birth bodies) to pregnancy and fertility. These domains, due to both biology and socialization, have been primarily relegated to women. Susannah is curious how men might embody those different states and energies outside of literally conceiving.
What might it be like to be physically unable to become pregnant, while being aware of, witnessing, and/or co-experiencing pregnancy? How can men and other-gendered creatures be "pregnant" without going through childbirth, and what else can one be pregnant with? Aside from virility, how does fertility breed itself within the male body and identity?
A performance art piece honoring the Virgin Mary in all of her divinity and humanity.
I'LL GIVE IT TO YOU, 2015
Collection of poems by Susannah Simpson. Covers letter-pressed on a Vandercook II at Green Door Studios. Inside text printed with the generous assistance of Burlington City Arts. Hand-sewn and bound at New City Galerie. Purchase inquiries contact here.
(click images to enlarge)
WARM WOMEN is an ever-evolving performance art piece exploring female/femme sexuality in all its expansiveness, complexity, and magic through the stories and lenses of the womxn involved.
The original piece premiered at Bushwick Open Studios in Brooklyn., NY June of 2015, and went on to go on a National US tour the following Spring 2016, in efforts to share the piece with as wide a range of audiences possible.
WARM WOMEN at Piano Fight in San Francisco, March 2016
After many years of traveling, and deeply falling in love with Mexico, and connecting with the creative community in the pueblo magico Cholula, both by performing, and facilitating, at Performatica, a bi-annual intensive/celebration of dance and movement arts held at UDLAP (Universidad de Las Americas Puebla), a desire was bred to create a new version of WARM WOMEN in Spanish with femme performers in community there.
In Spring 2017, through a residency at the DIY arts space Segundo Piso (helmed by the eaders of Performatica), WARM WOMEN CHOLULA was born. This iteration of the piece is entirely in Spanish, made in collaboration with the Latina performers involved.
WARM WOMEN CHOLULA at Casa Nueve Workósfera Puebla, MX
I believe new and wide-ranging representations of eroticism and sexuality are imperative for the healthy evolution of our civilization. I am literally starting from the ground up. I identify as an eco-sexual, a being that believes in a multitude of connections to the Earth, including an innately sensual relationship.
The Earth, her magic, and vast scope of manifestations turn me on, stoke me up, delight and intrigue me. I see the Earth as the ultimate sexy, fluid entity, from which we were made, and from where our own currents of desire and sensation are born. Human beings, by their very embodiment, are phenomena of nature.
I want to explore her, and myself accordingly, as a way to honor this earthly opportunity and celebrate all that sensuality entails. As a devout eco-feminist and sex-positivity warrior, this speaks to my deepest belief in conscious, empowered embodiment as a venue for holistic (r)evolution.
Untitled Icelandic Porno #1
From GOLDEN BOND, 2017
From SHELL PORNO (Teaser), 2017
Eco-porns are available for film and art gallery screenings.
An installation altar devoted to nourishing and honoring the earthliness and sensuality of the Virgin Mary. The altar mimics shapes inherent in Catholic iconography in its format, while also bearing fruit, flowers, hair, and seashells elevating and including such earthly and human elements into the realm of the "Divine."
This piece was made as part of a larger, continuing body of work attempting to restore autonomy and voice to the human known as Mary, to nourish and explore the possibilities of her being outside of the Virgin and Mother roles.
Artist devoted to FEEDING
2013, DANCE NEW AMSTERDAM, NY
2013, BROOKLYN FIRE PROOF, NY
"mili mili" marks the first group piece Susannah choreographed after years of making and performing solo dance work. It was the culmination of the four-month long intensive program "Choreographic Investigation Course" at Dance New Amsterdam (presently Gibney Dance). With "mili mili" Susannah began working with other bodies, introduced sound-making and vocalization into her choreography, making the bridge between dance and multi-elemental performance art.
"mili mili" is a Croatian phrase signifying a very intimate form of tenderness. Susannah wished to explore this state from a creature level, as individual entities, interpersonally relating forms, and an amorphous collective creating a gauze, both expansive and highly, intrinsically intimate. Noises of the forest, the radical nature of finding oneself in a body, the Fellini coming-of-age film "Amarcord," and the animal desires to both be with and to separate from, were potent ingredients in this piece.
2014, SECRET PROJECT ROBOT, BROOKLYN, NY
An investigation of the intersections of tenderness, violence, and pleasure, as relating to womxn in a mass-media saturated world. This piece navigates stereotypes and expectations of womxn as both givers and receivers in the aforementioned realms in juxtaposition with the messy, unpredictable interlude of primal creature expression, raw, desirous and raging against and through the projected machine.
An experimental percussive and vocalization-based band made up of Susannah Simpson and Elisa Garcia de la Huerta centered around dismantling patirarchy through symbols, poetics, Spanish/English interplay, and the most visceral tongue in cheek in throat in spit in sex expressions of being-hood. Selva Negra's song creation process involves drawing, automatic writing, attunement to plant consciousness, and childhood/dream re-memory. Selva Negra serves as a queer femme utopia where joy, play, all shades of humanity, and unabashed sexuality freely mingle and morph the status quo.
The Living Gallery, 2016
Presented underneath two of the artist's abstract paintings, Susannah created an altar devoted to honoring her Grandmother, Irene Scott Gilland, also a painter, shortly after her passing. The altar was offered as a space to reflect on and give thanks to her life-force (and for others to connect with their own Grandmothers) and to bless and support her transition into the next realm. A china cup sits as centerpiece on top of a duvet cover her Grandmother sewed by hand, both heirlooms passed down that speak deeply to the inherited, floral-centric aesthetic Susannah holds sacred. Cobs of corn and field grass are extentions of Scotty's country home and devotion to nature as highest muse and lover, and shells full of turquoise glitter echo the sea-brought objects that sat on her windowsills, another beloved icon passed down as sacred throughout the generations.
A large, inclusive contingent of feminist artists engage in a peaceful performance protest as a response to the massive imbalance of work made by womxn and people of color compared to that of white men in the Whitney Biennial.
"Hey Sweetie!" is a performance art piece inspired by a catcall the artist frequently received in her long-time neighborhood of Bushwick, Brooklyn. She cycles between embodying her harassers through direct replication of hisses, taunts, and "compliments" accrued over her lifetime as a womxn moving through public social spaces, and externalized vocal/physical responses to the trauma built up in the nerves and body from such consistent onslaught.
"Hey Sweetie!" premiered at Body Actualized Center in Brooklyn, NY 2013, and was performed at The Last Brucennial in Manhattan, NY and Universidad de Las Americas Puebla in Cholula Mexico in 2014.