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Suzanne Nacha

* artist appears courtesy of United Contemporary

Suzanne Nacha

* artist appears courtesy of United Contemporary
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Sad Clowns of the Anthropocene is a ceramic sculpture series at the intersection of geology, humour and pathos. Pointing to the rock record with it’s timeline extended far into the past, and to human- animal forms, the sculptures that make up this series appear as anthropomorphized rock-bodies. Each, a standing figure, seems totemic in isolation. But unlike totems, they settle into solemn standing postures, resting in their resignation. And just as the rock record provides visual clues to a distant geological past, what narratives might these human-animal rock bodies suggest? As sad clown analogies – perhaps the folly of our current Anthropocentric deceit; as rock bodies – a geologic record of our once diverse, human-animal past.


Suzanne Nacha is an artist that works in diverse mediums including sculpture, painting and video. Drawing on her experiences mapping the far-reaches of Canada, the creation of geologic maps and the study of structural geology; she builds idiosyncratic worlds that explore our human relationship to geologic landscape. She has exhibited her work in Canada, the United States and Europe, and is represented in public and corporate collections including the Department of Foreign Affairs and International Trade, the National Bank of Canada and the Robert McLaughlin Gallery. She holds degrees in both Fine Art and Geology, including an MFA from York University in 2003. Born in Hamilton Ontario, she currently lives in Toronto where she is represented by United Contemporary.


  • 2001 – 2003 York University, Toronto, Ontario, Canada (M.F.A.)
  • 1991 – 1993 University of Guelph, Guelph, Ontario, Canada (Bachelors – Fine Art)
  • 1985 – 1989 McMaster University, Hamilton, Ontario, Canada (Bachelors – Geology & Geography)
Selected Exhibitions
  • 2022 - Earth Oracles – Maytens Projects (upcoming), Toronto, Canada (group)
  • Inside Looking Out – United Contemporary, Toronto, Canada (group)
  • 2021 - Papier Art Fair – United Contemporary at Foire Papier, Montreal Canada
  • 2020 - Land Line – YYZ, Toronto, Canada (solo collab with Meghan Price)
  • 2019 - Chromacore – United Contemporary, Toronto, Canada (two person)
  • POP II – Renann Isaacs Contemporary Art, Guelph, Canada (three person)
  • Becoming Lithocene – Walter Phillips Gallery, Banff Centre, Banff, Canada (group)
  • 2018 - Pictures at an Exhibition – Elissa Cristall Gallery, Vancouver, Canada (group)
  • Built to Play – FCP Gallery, Toronto, Canada (group)
  • 2017 - Playful Tangents – Open Studio, Toronto, Canada (group)
  • Dwell – Harbourfront York Quay Centre, Toronto, Canada (group)
  • Interior Geometry – Loop Gallery, Toronto, Canada (solo)
  • Identity / Identify – Robert McLaughlin Gallery, Oshawa, Canada (group)
  • 2016 - Minera-logic – Loop Gallery, Toronto, Canada (solo)
  • 2019 - Union Arts – Collab Residency with Meghan Price, Bonnavista Penninsula, NFLD, Canada
  • The Sointula Art Shed – Artist Residency, Sointula, BC, Canada
  • 2018 - Fogo Island – Geology at the Edge Residency (Art/Geology), Fogo, NFLD, Canada
  • 2016 - The Sointula Art Shed – Artist Residency, Sointula, BC, Canada
  • 2011 - Vermont Studio Center – Visiting Artist, Johnson, Vermont, U.S.A.
  • 2008 - Open Studio – Visiting Artist Residency, Toronto
Selected Grants and Awards
  • 2019 - Toronto Arts Council, Individual Artist Grant (Collab Project with Meghan Price) – Mid Career
  • 2009 - Toronto Arts Council, Individual Artist Grant – Mid Career
  • 2007 - Ontario Arts Council, Grant to Visual Artists – Mid Career
  • 2003 - Dept of Foreign Affairs and International Trade - International Career Development Grant
  • 2002 - Ontario Graduate Scholarship
  • 2001 - Ontario Arts Council, Grant to Visual Artists - Emerging
  • 2000 - OAC Exhibition Assistance Grant through the Art Gallery of Hamilton
  • Jenn Law, “Tracing a Line”, (Land Line exhibition text), YYZ, Toronto, Canada 2020.
  • Caroline Loewen, “Becoming Lithocene, Exhibition at the Banff Centre explores geological processes”. May 20 2019, Galleries West Magazine online.
  • ArtSync Conversations 2011-2012, "Signs for Travelers at Loop Gallery”, ArtSync (Book), Toronto, Ontario, 2012
  • Isherwood, Barbara, (Interview/feature) "Signs for Travelers at Loop Gallery” ArtSync TV, Rogers, Cable 10. Aired October 21, 2011 and online at https://vimeo.com/30909875
  • David Jager, “Going In Deep: Nacha probes underground themes”, Now Magazine, Toronto, Canada, Nov 10-16, 2011, P61
  • Matthew Brower, Against Indifference: Suzanne Nacha at Open Studio, exhib catalogue, 2009, Open Studio, Toronto, Canada.
  • Carte Blanche. Volume 2, Painting, The Magenta Foundation, Canada, 2008
  • Gary Michael Dault, "Suzanne Nacha at Pari Nadimi", The Globe and Mail, Canada, Oct 18, 2003, R19
  • "Parameters", Ex-Berliner - Visual Arts Highlights, Berlin, Germany, June 2003, P37
  • Carla Garnet, Rewind: "Synthetic Psychosis", Canadian Art 19, No 3, Fall 2002, 136
  • Sarah Milroy, "Critic's Choice: Synthetic Psychosis", The Globe and Mail, Canada, Apr 13, 2002, R23
  • David Liss, Synthetic Psychosis, exhibition catalogue, 2002, Museum of Contemporary Canadian Art, Toronto, Canada
  • Gary Michael Dault, "Suzanne Nacha at Tatar-Alexander", The Globe and Mail, Canada, Dec 22, 2001, R12
  • Dierdre Hanna, "Macho Mining", Now Magazine, Toronto, Canada, Mar 8, 2001, P77
  • Gary Michael Dault, "Critic's Choice: Mined Sites at Mercer Union", The Globe and Mail, Canada, Mar 10, 2001, R11
  • Department of Foreign Affairs, Ottawa, Ontario, Canada
  • National Bank of Canada, Toronto, Ontario, Canada
  • The Robert McLaughlin Gallery, Oshawa, Ontario, Canada
  • OMERS (Ontario Municipal Employees Retirement Board) Toronto, Ontario, Canada
  • The Donovan Collection, St Michaels College, University of Toronto, Canada

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