Carl Belz writes about the work of Susan Roth for an exhibition at at the Luther Brady Art Gallery, George Washington University, Washington D.C., on view from October 22 – January 30, 2015.

Belz notes that: "While painterly, color-oriented drawing is varied and plentiful throughout the pictures, drawing wrought by arm and hand with brushes or rags or sponges and occasionally even flung in skeins and streams, linear drawing is no less essential to their character. It first and last defines graphically the pictures’ framing edges, which in each case assume a unique configuration in response to the pictorial field they enclose–to what the artist calls their geography–and thus do they assert themselves as integral to each picture’s content. But equally significant is the drawing that accrues to the paintings’ internal fields, to the ridges and grooves and folds and furrows of the wrinkled and crumpled canvases, all of them insistently physical pictorial vectors, all of them humming with movement, yet none of them feeling willed by human agency, none feeling actually drawn with the urge to delight or describe–drawings’ usual jobs–but drawing instead that feels like a force of nature."