{"id":2253,"date":"2026-09-11T15:21:35","date_gmt":"2026-09-11T15:21:35","guid":{"rendered":"https:\/\/juanbutten.com\/?p=2253"},"modified":"2026-09-07T15:37:32","modified_gmt":"2026-09-07T15:37:32","slug":"the-silence-that-inhabits-objects-my-night-in-becky-susss-rooms","status":"publish","type":"post","link":"https:\/\/juanbutten.com\/es\/the-silence-that-inhabits-objects-my-night-in-becky-susss-rooms\/","title":{"rendered":"The Silence That Inhabits Objects: My Night in Becky Suss\u2019s Rooms"},"content":{"rendered":"<p><strong>por Juan Butten<\/strong> <\/p>\n\n\n\n<p>The noise of Manhattan suddenly faded as I crossed the threshold of <strong>513 West 20th Street<\/strong>. Last night, Thursday, September 10, <strong>Jack Shainman Gallery<\/strong> didn\u2019t feel like a cold exhibition space in Chelsea; instead, it transformed into a midnight sanctuary. Walking through the opening of <em>Night House<\/em>, the latest offering from painter <strong>Becky Suss<\/strong>, was the closest thing to slipping uninvited\u2014yet with a poetic invitation\u2014into the intimacy of someone else\u2019s home after everyone else has gone to sleep.&nbsp;<\/p>\n\n\n\n<p>The exhibition, open until <strong>October 31, 2026<\/strong>, marks a deeply moving turning point in the artist&#8217;s career. Those of us who follow her work remember her obsession with domestic interiors\u2014spaces traditionally shaped by women where family memory is woven. However, while Suss previously dazzled us with rooms flooded by an omnipresent, vibrant daylight, in <em>Night House<\/em> she decided to turn off the main switches. She delivered, instead, a symphony of deep blacks, grays, and nocturnal blues that completely envelop you.&nbsp;<\/p>\n\n\n\n<p>Last night&#8217;s experience was purely immersive. It all began with <em>Night Garden<\/em>, a painting that welcomed me by showing the exterior of a house illuminated by a moon that seemed to project its light right past the canvas. From there, I felt the exhibition inviting me to peer inside. The most powerful aspect of Suss&#8217;s painting is that, <strong>even though there is not a single human figure on the canvases, the rooms overflow with humanity<\/strong>. I saw life in shelves brimming with books, in ceramic tableware, in statues, and in the intricate patterned wallpaper adorning the walls. These are the everyday ghosts of affection: objects we choose to keep because they narrate who we are.&nbsp;<\/p>\n\n\n\n<p>Walking through the gallery required patience. Just like when you step into a dark room in the middle of the night and have to wait for your eyes to adjust, Suss&#8217;s paintings revealed their layers to me little by little. I was fascinated by how she consciously distorts perspective; she flattens walls and exaggerates proportions, reminding us that <strong>memory is not an exact photograph, but a malleable construction<\/strong> where reality and fiction merge.&nbsp;<\/p>\n\n\n\n<p><em>Night House<\/em> is, ultimately, a tribute to the longing for those who are gone and, at the same time, a celebration of the profound value of solitude. Suss has managed to transform the silence of the night into a psychological mirror. Stepping back out into the nocturnal bustle of New York, I couldn&#8217;t help but look up at the illuminated windows of the Chelsea buildings and wonder how many silent, invisible stories were sheltering inside at that very moment.&nbsp;<\/p>\n\n\n\n<p><strong>Juan Butten<\/strong>&nbsp;<\/p>\n\n\n\n<p>#BeckySuss #NightHouse #JackShainmanGallery #ContemporaryArt #NYExhibitions #ChelseaArt #ContemporaryPainting #Art2026 #JuanButtenChronicles&nbsp;<\/p>","protected":false},"excerpt":{"rendered":"<p>By Juan Butten The noise of Manhattan suddenly faded as I crossed the threshold of 513 West 20th Street. Last [&hellip;]<\/p>","protected":false},"author":4,"featured_media":2256,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[1],"tags":[],"class_list":["post-2253","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v23.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The Silence That Inhabits Objects: My Night in Becky Suss\u2019s Rooms<\/title>\n<meta name=\"description\" content=\"By Juan Butten The noise of Manhattan suddenly faded as I crossed the threshold of 513 West 20th Street. 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