For spectators, an interactive experience awaits: birds, caught in the moment, watch us, ready to strike or to fly away; clusters of twisted vines and treacherous spikes draw us inside.
‘As my work with natural subjects becomes more detailed, so my subjects become more assertive,’ the artist states.
Creates some kind of life and death erotica, horrible and beautiful.
Erotica of exploitation, defiance and embarrassment, and sadness.
The Magpie is the only non-mammal species to have the ability of self recognition in a mirror test.
A narrative of claws, animal horns, feathers, shredded snake skin, fossilized beetles, dried butterflies, bird skulls, etc, gave me the impression that if I wore one of her ingenious creations, I could morph into this intelligent bird.
Symbolism pushed its way in, photographs with dead birds, magnificent, hurt, in a club named after the primordial singing bird; and that’s the mode of action: he approaches stranger men at the club and asks them to photograph with a dead bird. The necrophilic layer, the emotions layer, the surprise, the threat, the spectacular sight of a boy holding a bird, struck with a spotlight.
It’s a story’s geology, something needs to be done, I thought in despair.
I obsess about how fine a line I can do; ultimately, I love seeing all the little black lines that I’ve painted come together to create an image.’ Despite the striking maturity of her work, Susan has been working in ceramic art for less than a decade.
For many years she worked as an art director/designer in advertising.