On a purely visual level, the paintings of Susan Czopor are a magnificent melange of rich jewel-like colours, complex pattern and sometimes intricate interweaving line, creating a shimmering, all-over, animated surface which bristles with life. Conjuring up Chagall, Matisses & Gillian Ayres, her choice of naieve figuration is coupled with a sophisticated handling of paint. In fact, Czopor's confident brushwork arises from years of positive, energetic production which has been amply rewarded by her successful track record of commissions, prizes and awards.
Her work is unashamedly hedonistic and celebratory, rejecting a negative critical approach to art in favour of the Bahktinian carnivalesque. However her work has also been acclaimed by critical curators and scholars, who have seen beyond its decorative aspects, reading into it a concern with the Feminine. One instance of this was in the 1990's when one of her paintings "The Mother Gives, the Child takes" was chosen for publication in a book "The Art of Reflection: Women's Self-Portraits in the Twentieth Century", published by Scarlet Press, written by the internationally well-known, feminist scholar Marsha Meskimmon. Meskimmon has written extensively about maternal subjectivity, an essential aspect of the Feminine.
This interest in the feelings and processes of the mother, can be detected in Czopor's own stated interest in the art of Paula Modersohn-Becker. Consequently, further connections can be made when considering Czopor's solo exhibition "Connecting the Self" in 1990 at Kunstcentrum, Worpswede, Germany, the place Modersohn-Becker resided in her artists' community.
Having trained at the Surrey Institute in the 1990's, the initial reception of Czopor's work began with regular exhibitions in her home county, Surrey and in select London Galleries. In 2003 her work was exhibited at the Royal Academy Summer Exhibition. Her work then began to be widely purchased by art consultancies to adorn the walls of a range of hospitals in the South of England. The work's concerns with memory and the emotions that are attached to objects, events, music or words and the connections they create between people, make her work eminently suitable to fill the walls of what are sometimes neglected and forlorn hospital waiting areas with her riotous and yet at times meditative creations.
Latterly her practice has grown to incorporate the making of ceramic works whereby the elements of her work might be translated more fully into three dimensional forms. With the success of Grayson Perry winning the Turner Prize and the growing interest in fine art ceramics, this latest development in her oeuvre makes her work highly contemporaneous.