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Suzanne Csikos-Nagy (Suzanne C. Nagy)  was born in Hungary and is an environmental artist and curator who lives and works in New York City. Her work has been widely exhibited internationally, including The National Museum in PoznanLudwig Museum BudapestBarcelona Museum of Contemporary Art, Palazzo Guicciardini Bongianni, Art Avenue, New York University, Osprey Foundation Florida, and other institutions.


She moved to the United States in 1978.

She has a bachelor’s degree in Economics from Budapest University. She was a student of professor Istvan Nemeskürty and received a diploma in 1977 as a filmmaker, a film producer, and a film writer. She also studied art at the Art Students League of New York between 1980 and 1982.


Today, Nagy is internationally acclaimed as one of the first environmental artists who questioned how unchecked pollution threatens our water, soil, and air quality. Her works mix traditional art and technology. They stand as poetic contemplations about the environmental consequences of the industry. 

She is married and a member of the Yale Club and The National Arts Club in New York City.

Websites: and


Publications: Tale of the Clock 1995 (with 42 artworks)

                  Pollution/Remediation 2012 (with lightboxes and photographs)

                  Swimming Among Sharks 2020 (history of the making of the Grizzly 2 movie)

Film: Producer and Executive Producer of Grizzly II: Revenge movie.



She is an authorial figure singled out to voice sustainability and environmental issues. In her testimony, she claims that she respects reality the most; therefore, her works are authentic, direct, substantial, and dramatic.
Her presence as an investigator is there when she enhances the protagonist, nailing down the real issues within the architectural or industrial landscape in a 3D light box entitled “Time Capsules” or in a modern conceptual work in her series of the tree of life entitled “Metamorphosis.” But she is comfortable working with tree roots, rubber, and plexy glasses.

The goal is not to include her personal take and opinion about what she sees or observes. The goal is to document what she sees and hopes that others will see through her eyes; therefore, she can influence changes.

Her participation in discoveries is a selfless act, an esthetic choice by a systematic process of how she selects the subjects and moves us to a center point of her interest, hoping that her images stay with the viewer like stamps on the envelope delivering an urgent message.

She can be intimate with the viewer, like the creation of her light panels entitled “Our heart is speaking to us” from the Sustainable Nature mega project, when she moves us closer to the urgency of dealing with pollution more than ever—exhibited in Ludwig Museum Budapest, all over Europe and the USA.

Her works impact all of us, a selfless voice when an artist brings a special light onto severe problems, offering simple solutions that could have worldwide interest, implications, and influences. This kind of investigation takes lots of research and discipline. Multiple issues play significant roles in our future, and when those issues mount up, they represent a threat to all of us. Things have the nature to backfire. That is how things are in a heavily gravity-oriented world.



The artist believes that she has a mission and an essential role in promoting environmental-related issues. She goes back in history, and from the 1980's she developed a unique method, a very tedious process to create 3-dimensional transparent artworks. Her industrial lightboxes as testament are her signature works that make us deeply think about the past 150 years of the industrial by-product. Lately, she does acrylic on canvas work promoting planting trees all over the world. Her multi variable installations consist of 10-12 same size artworks built like a tree that could be reshuffled as per her belief that we have time to change the course of events. Participation and world vision is her advice. Her work comes with a pinewood frame and a certificate of authenticity signed by the artist. The light boxes and light panels are numbered since she successfully sold her most popular unique works in the past already—even these works which have been numbered never look the same because the epoxy dries differently. Therefore the texture and lighting come out different. She is continually experimenting with various media like car tires, tree roots and trunks, and many other ways to promote the same environmental awareness.

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