The thing about Susan Weil is that, at 94 years old, her creative drive is relentless.

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Several days a week, she travels from her home in downtown New York City to her studio in Williamsburg, Brooklyn, an airy space in a former yeshiva building that she has had for the past 40 years. On the days when Weil is not in the studio, she is drawing, pondering new works she’s planning, writing poems and making collages that she refers to as “Poemumbles” which she shares daily with her circle.

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Weil’s quest for enchantment and delight within her artistic practice has been a clear source of inspiration since her days as a student under Josef Albers at Black Mountain College in the late 1940s. She never shied away from experimenting, and trusting where her intuition was going to lead her. Her work has taken on so many material forms: painting, drawing, sculpture, cyanotype, artist books, collaborations (with her then-husband Robert Rauschenberg, with photographer José Betancourt, and with renowned artist book publisher Vincent FitzGerald to name only a few).

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Despite her radical sense of experimentation, there is a remarkable consistency present throughout Weil’s work over the past eight decades that she has been a practicing artist. Central themes emerge, such as her fascination with the horizon line, the phases of the moon, movement of the body — quotidian subjects, yes, but subjects that embody the subtle ways in which we perceive the passing of time through space.

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Weil's work is in many major international museum collections, including: the Metropolitan Museum of Art and the Museum of Modern Art, New York, New York; the Moderna Museet, Stockholm, Sweden; the Victoria and Albert Museum, London, England; the J. Paul Getty Museum, Malibu, California; the Portland Art Museum, Portland, Oregon; and the Asheville Art Museum, Asheville, North Carolina.