A prolific artist working powerfully in painting, drawing, sculpture and installation, the dramatic visuals of Hungarian-American Suzanne C. Nagy’s works across media echo her training as a film producer. Her flair for manipulating photographic images is particularly evident in a sculpture series based around pictures of industrial and energy infrastructure. Weathered photos portraying electrical transformers, industrial buildings and power plants as threatening, epic creations looming over drab landscapes are printed onto frayed, crumpled paper stained by chemicals and enshrined within stark metal cases.

Nagy’s post-industrial aesthetic evokes a scenario from a disaster film, with completely unnatural settings, colors and textures drained of any natural activity or features. This iconography portrays an engrained distrust of the official agents of authority as they’re symbolically present in the massive infrastructure of power. Leaving communism behind Nagy left Hungary and came to New York (she now splits her time between these two homes), Suzanne C. Nagy’s industrial landscapes are shaped by her sensitivity to political and environmental injustice.