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FOR AN EMPTIED SPACE, 2018, ongoing 


For An Emptied Space is an original text which offers, invites, suggests, or instructs ways readers might enact rites, rituals, parades and processions. The suggestions listed in this first installment of the project are fully open to interpretation and are meant to be shared widely beyond the artist's first distribution of them, whether via photocopy, email, or simply by mouth.


As part of the project's first public presentation at Fundación Botín, visitors were welcome to take home bilingual copies of the text, explore a formerly emptied space constructed from paper, listen to recordings of emptied space songs sung by collaborators Jacqui Cornetta, Kendra Krueger, Natalie Riquelmy, and Maddi Rotaeche (and sing their own version of the emptied space song if the mood struck them), view artifacts crafted by the artist from items "emptied" of their purpose like beach refuse and household goods scavenged from the city of Santander, and "fashion beautiful things" from the detritus of daily life.




Fedynak For An Emptied Space

Originating from the above text, a set of instructions, or more aptly, suggestions, for approaching an “emptied space", this project is designed to be highly portable, and may exist in the form of a large scale installation or performance, or simply in a fleeting moment when someone enacts their own personal ritual of filling an emptied space. It is an ongoing, happily amorphous, time-hopping, intercontinental, embodied installation made by you.








Download copies of the original text here to share with others, whether electronically, in print, or otherwise. 

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For An Emptied Space Soundscape - Kendra Krueger, Natalie Riquelmy, Jacqui Cornette, Maddi Rotaeche
00:00 / 00:00

Pictured above: notebook pages made by the artist while developing For An Emptied Space, artifacts crafted by the artist for an emptied space, and people in Santander encountering elements of the piece.



Excerpt from a multi-media component of The Little Washer Woman, a solo storytelling performance about women, domestic labor, and debt. Written, performed, and with multi-media design by Susan Fedynak. Presented as part of Jubilee!/Lady Fest 2018 at The Tank Theater in New York, New York on August 16th, 2018.






Wave Rupture seeks to offer documentation of

an uprising

a surge

an influx

a movement

a signal

a rush

a convolution

a particular moment of rupture

when the loudest sound emanating from U.S. airports was not the clockwork roaring of jumbo-jet engines, but the voices of people shout- ing let them in, let them in, as they participated in spontaneous demonstrations demanding a lift on a presidential order that suspended entry of all refugees, barred Syrian refugees indefinitely, and blocked entry into the United States for 90 days for citizens of seven predominantly Muslim countries. At that moment, public outcry transformed the non- place of the airport, however temporarily, into an active point of political discourse.

The film juxtaposes archival audio of Port Authority Police radio communications during the January 28th, 2017 No Ban, No Wall demonstration at JFK International Airport in Queens, New York, against original field recordings documenting daily life under the flight paths of La Guardia Airport, also located in Queens, New York. While the chants of demonstrators, as heard in the background of police radio frequencies, display one example of political resistance literally taking up space in the sonic plane specific to a geographic location, the less overtly political field recordings offer instances of human attempts to mitigate the relentless noise pollution that becomes part of daily life for anyone who lives near an airport. These later sounds may come in the form of wind chimes hung from a porch, or someone speaking up, even shouting, as a kind of talking back, even perhaps as a subtle form of resistance.








A  video diary featuring original text and voice mail recordings from the artist’s personal archive. 


The Price of Leaving was first publicly screened on December 15, 2016, at Art After Trump, an event co-produced by Housing Works Bookstore, Well-Read Black Girl, Ace Hotel New York, Hyperallergic and The Creative Independent.


Documentation of the event can be found at: thecreativeindependent.com/events/art-after-trump/