Susan Daboll: whose history is it anyway?
curated by Kostas Prapoglou
The visual language of Susan Daboll resonates deeply through the exploration of the intersection between human experience and the perception of existence. Born and raised in America, her artistic journey has been profoundly influenced by her surroundings and family history, resulting in an immense body of work that reflects both the attractiveness and multiplicity of our reality. The exhibition whose history is it anyway? receives its title from the homonymous body of work Daboll created in 1986.
Navigating the terrain of the human condition, the artist infuses her work with a comprehensive understanding of emotions and experiences. Through her distinctive artistic lens, she contemplates the complexities of life, offering glimpses into the depths of the soul.
The solo exhibition at the gallery of the historic Parnassos Literary Society in Athens –a 19th century neoclassical building promoting the history and traditions of Hellenism– encompasses a vast collection of photography work and installations that were conceived and created especially for this occasion. Departing from significant periods of her own personal life story, Daboll creates three different interconnecting chapters, one feeding into the other; the chapters of ‘Takis’, ‘Susan and Takis’ and ‘Susan’.
Transmitting far beyond mere aesthetics, Daboll's artistic and visual versatility are evident in her mastery of colours as well as diverse mediums and techniques. Black and white gelatin silver prints, various types of film, collage, colour polaroids, Diana camera photographs, printed cloth and digital prints are all masterfully orchestrated and in dialogue with furniture pieces and other found objects that all have a special meaning to her.
Takis (Panayiotis C. Dimitracopoulos) plays a large role in the exhibition. Born in Athens, he left Greece to go to McGill University in Canada, getting his degree in engineering. He went on to become an inventor, holding many patents worldwide. After inheriting his grandfather’s neoclassical home in Paros (very similar in architecture with the Parnassos building), he returned to Greece in the 1970’s, and used his drafting skills to design and build houses. He had an original mind that kept him interested in the newest innovations and how to implement them in everyday life. Takis and Susan were married in 1998. He passed away in 2020.
Departing from her own deep feelings that had been buried for years, Daboll surveys the intricacies of [inter]personal relationships, capturing the essence of their spirit with remarkable power and empathy. One of the recurring themes in the body of work on display is the magnitude of physical or non-physical presence. Through subtle references or overt symbolism, the artist instigates the ways in which we respond to this presence, and we are shaped by the remnants of the past and our immediate environment. Evocative of a personal documentary photography, the repeated appearance of Takis’s personal items reflects a meditational journey that leads Daboll from a time of darkness and grieving to the eventual light of realisation and reinvention.
Central to Daboll’s work is the evocative power of portraiture as representations of metaphysical entities. Transcending physical likeness, all portraits turn into poetic devices, inviting viewers to peer into the inner world of her chosen images. These are imbued with a sense of romanticism, intimacy, vigorous femininity, and perhaps sometimes vulnerability, forging a link between subject and viewer. Exploring the dynamics of human relationships with poignancy and depth, she simultaneously channels the ingenious interplay of passion and excitement, and such interactions that define human connections.
In addition to her technical skill, the willingness to experiment with unconventional methods sets her apart as a truly innovative artist. Whether incorporating found objects or using digital manipulation to create sublime installations, she pushes the boundaries of artistic expression, challenging us to reconsider the preconceived notions of art and beauty. Books also have a very special meaning to her; spanning across decades and referencing the artist’s family history they are perceived as conduits of escape, vessels of a different world and echoes of other –bygone– lives.
Time is a recurring motif in Daboll's work symbolising the ephemerality of existence. The series of works involving her late husband Takis, investigate the passage of time with sensitivity and grace. Permeated by a sense of belonging, reverence, and introspection, the show contemplates the wisdom and resilience that come with companionship. The sense of innocence and wonder are reminders of the cyclical nature of life and the inevitability of displacement and change. A change that eventually helped her shed the past, continue living, be reborn as a new person, and finally rising as a new woman, a new goddess, accepting personal power.
Redolent of lost landscapes, her array of installations which surface like psychological biographies, embraces a testament to the universality of emotion and an inherent dignity. At the heart of Daboll's artistic practice lies a deep sense of empathy and social consciousness. In a world increasingly defined by technological advancement and societal upheaval, her work serves as a poignant reminder of the enduring power of the soul and its ventures into unknown territories.
Daboll’s works resonate with authenticity, encapsulating the nuances of love, longing, and togetherness while inducing us to re-evaluate the impact of human ties on our lives. Through her photography, she portrays the convoluted mechanisms of experiencing mortality, yet celebrating life and the mysterious ways we are all bound together.
“I am feeling so fully alive –this is what it feels like to be alive”.
Susan Daboll