We were lucky to catch up with Susan Hostetler recently and have shared our conversation below.

Hi Susan, thanks for joining us today. Can you talk to us about a project that’s meant a lot to you?

The artists I know are always working, always making, always looking at the world around them, at the museum and gallery shows, at each others’ studios. We all make art even without a prospect for a sale. Every sale, no matter to whom, no matter how large or small, is important to me. I like to know that my art will bring lasting joy and curiosity to whomever buys it.
I particularly like my work to be a site specific commission that has a meaningful purpose for a particular building, entity or architectural site. Examples of this are commissions I created for The Federal Reserve Bank in Elizabeth, NJ (24 painted wooden screens of scenes from the natural world for their conference areas), INOVA Schar Cancer Institute in Fairfax, VA (an installation of clay birds flying across 75 feet of wall space in the waiting room of the cancer center) and American Physical Therapy Association in Alexandria, VA (a flock of clay birds flying vertically up the wall to reflect their motto: Move to Soar).

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

Wherever I have lived, worked or traveled, I have always made art.  The natural world, both fauna and flora have been my muse. In the past decade I have added sculpture to my repertoire, specifically, the bird form. Usually I make them from clay, but have also used porcelain, wire mesh and glass.

The effects of climate change, the demise of our bird populations, and the need for wildlife in our lives, informs my work. The behaviors of birds fascinate me. The sheer beauty and power of birds in flight motivates my art. I try to convey the majesty and mystery of birds as well as their desperate struggle to survive.

The sculpted clay birds arranged in flocks on walls has broadened my avenue for sales, from residential spaces to public ones. The flocks can fly in any architectural setting: in stairwells, across peaked high ceilings, along the spaces under skylights or windows, any wall space, often where paintings cannot be placed.  Each bird is individually mounted on the wall, so the form the flock can take is infinite. I love the challenge of an unusual space. The patinas vary as well, from powdered graphite and other pigments, to gold leaf.

Working on site specific commissions involves collaboration with many people: the client, architects, designers, consultants and sometimes government agencies.

How about pivoting – can you share the story of a time you’ve had to pivot?

The birth of our first child, born with Lissencephaly, multiple disabilities and a label of ‘medically fragile’, was a challenge in every way, but he also shone a pure light into our lives.    During this time of 6 years I had to pivot away from art making to be present for caregiving.   However, I kept my studio outside our home, and managed to keep working on paintings whenever time permitted. Staying connected to my work helped me along the path, and painting week after week pulled me along a continuum through the traumas and hospitalizations.   I made small paintings of leaves, flowers, and what I called, ‘tree adornments’ (anything that grows on a tree).  My paintings became quite realistic.   I needed to paint realistically to have control over something in my world.  I placed these small paintings in a series of 4 to 20 pieces.  All these series were sold in NYC where we lived at the time.  A series of 4 dried roses were commissioned for the movie, ‘You’ve Got Mail’.

Let’s talk about resilience next – do you have a story you can share with us?

Surviving the fluctuations of trying to make art while making a living takes a lot of perseverance. Returning to the academic world,  in my 50’s, to get a Master’s degree in teaching art was also a form of resilience which was needed as our son was applying for universities and another paycheck would be helpful! Being a generation older than my cohorts was so noticeable that it was the easiest hurdle in my new situation. Writing a final thesis was the highest hurdle. If I were to write another thesis it would be ‘how to write a thesis for non-linear thinkers’.
The Corcoran School of Art and Design in Washington, DC was the perfect choice for my graduate degree. An icon in DC, opening as an art school within an art museum in 1890, my master’s degree would have a large component of museum studies and teaching visual art in a variety of settings; from museums and cultural centers to public schools.

I am grateful to my mom who offered encouragement during times when I wondered if I was wasting my time and money getting a degree in the teaching of art.
One of her comments became my inner motto: “I don’t think it’s wasteful to get a degree in anything at anytime in life! “

My varied teaching opportunities led me to be involved in populations and individuals I would otherwise not have encountered.  It broadened my view on making art and what it means to individuals of any age.   I have taught ages 6-96 and enjoy encouraging students to find meaning and joy in art making.

Contact Info:

• Website: www.susanhostetler.com
• Instagram: @susanshostetler
• Facebook: https://www.facebook.com/susan.hostetler.9
• Linkedin: Susan Hostetler

Image Credits
Gregory Staley Lelei Lelaulu Susan Hostetler