Suzanne C. Nagy
Suzanne Csikos-Nagy (Suzanne C. Nagy) is an American film producer, environmental artist, and curator who lives and works in New York City. Her work has been widely exhibited internationally, including The National Museum in Poznan, Ludwig Museum Budapest, Barcelona Museum of Contemporary Art, Palazzo Guicciardini Bongianni, Art Avenue, New York University, Osprey Foundation Florida, and other institutions.
Born in Hungary to a Hungarian father, Dr. Csikós Nagy Béla, a reformed economist, a professor and was State Secretary of the Institute of Price and Material, and to a Swiss mother, Suzanne spent her childhood in Budapest. She moved to the United States in 1978. She has a bachelor’s degree in Economics from Budapest University. She specialized in international trade and law. She was a student of professor Istvan Nemeskürty and received a diploma in 1977 as a filmmaker, a film producer, and a film writer. She also studied art at the Art Students League of New York between 1980-1982.
She produced the film Grizzly II: Revenge (also known as Grizzly II: The Concert) in Hungary in 1983. She worked with talents such as George Clooney, Laura Dern, Louis Fletcher, and Charlie Sheen as a movie producer. The film was not finished until 2020 when she entered into a distribution agreement with Gravitas Venture International. Suzanne C. Nagy is curating fine art and European art in New York and Europe. Her mission as an environmental artist is the most important for her, especially to promote the danger humanity faces in this turbulent time. Art is a weapon with a force of power that influences us; therefore, her mission is the most serious commitment she wants to keep for the rest of her life.
Nagy is already internationally acclaimed as one of the first environmental artists who questioned how unchecked pollution threatens our water, soil, and air quality. Her works mix traditional art and technology. They stand as poetic contemplations about the environmental consequences of the industry.
Presently art and gallery relationships are the most important for her. She wants to improve her dialogues with collectors and potential buyers because her style and message entered a different phase by developing a unique language; she is ready to be part of a larger art scene.
“I exhibited all over Europe, moved to New York City in 1978, and currently running several successful enterprises. I have multiciliary capability to see the world from a very distinguished angle while incorporating my business knowledge with the environmentally deteriorating real world. I study and read a lot before I start to create my art because it is essential for me to be accurate and document issues that I care about. My work is transparent and unique by formulating time capsules, light objects that make the viewers mesmerized until they realize the subject. I experimented and discovered a unique method of processing epoxy sculptures which is one of my signatures works. I created “Transparentism” in 2000, a new form of 3D art to make the message more effective.”
“In Long Island, I have a large studio where I could work and create my art, experiment with new materials like epoxy, Plexi, metal, wood. In Europe, I also have a studio where I create all the works that I exhibit in Europe. Today after the Covid experience, I am looking for a new rhythm, balance, understanding, and alternative to engage in this chaotic world. I am carving out a new road where the consequences of our making will reflect in the future. My recent works are abstract acrylic on canvas, mixed media, and Plexi, with vibrant colours. Everything is moving, and we are in transition. I participated in numerous art exhibitions, including solo shows in museums and institutions, and would like to extend my presence in the art scene in New York City and Budapest.”
“My latest work represents the quest for a long-awaited agony to search for our future. What kind of landscapes is waiting for us if the scientists are right about global warming? The future – what will happen to our sublime landscape? Broken continuity – how much will be covered from our past as reference points will shift? Organized chaos. The past and present collide; shoves some of our memory into the subconscious. Our inspired beauty will be reduced to give meaning and purpose to our actions. The present status of humanity is at stake. The silver lining, to reset and take inventory in our memory lane when we have multiples and mutations. Collective consciousness is an algorithm where a set of rules has to be followed. “Mirage as an optical illusion.”