Susan Collis

Having a guided tour around an exhibition by the curator is one of my favourite ways to discover artists and I find the curatorial process more and more fascinating. The Collective Birmingham recently hosted a event at Eastside Projects, my favourite gallery in Birmingham. As part of the event we were given a tour of Sculpture Show ahead of its opening.

Sculpture Show, curated by Gavin Wade and Ruth Claxton was brilliant, looked fantastic in the gallery space and confirmed my passion for bold sculptural form, it also taught me to spend a little more time questioning work which doesn’t make its self completely obvious at first glance.

During a tour we were introduced the work of Susan Collis, had I been wandering the show alone I might of dismissed her work, at first glance it appeared to be variable pieces of wood laid on the floor with gold screws half in, half out, a familiar sight. Then it was explained that the screws were actually real gold complete with hallmarks, the wood was treated with precious veneer and in parts mother of pearl and small gems of garnet, sapphire and black diamond were positioned on the wood. Responding directly to the gallery space the gems were also extended into small holes in the walls, where exhibitions had left their mark before. Lovely.

Susan’s work made me realise that I need to take time to look beyond each artwork to uncover the ideas and I loved the way it encouraged conversation in the gallery space. I felt like I was sharing a secret as I pointed out the hallmark and sparkling black gems as evidence to others. Her work makes precious everyday objects and doesn’t let us assume anything.

Susan Collis is represented by Seventeen Gallery:

‘Collis’ practice involves a subversion of time frame and visual perception through the manipulation of everyday objects. In the piece ‘Paint Job’, what initially seems like a collection of careless splashes and stains upon the fabric of utilitarian worker’s overalls are, on closer inspection, meticulously stitched marks replicating the accidental and spontaneous moment. Further to this, Collis enjoys playfully positioning the works in overlooked areas of an exhibition space, to heighten the potential for an initial misreading. We, the viewer, are then forced to rewire our visual and mental understanding of a particular mark, thus elegantly extending our viewing experience’.

I also enjoyed this article in the Times on her exhibition at Ingleby Gallery last year

If you would like more information on The Collective Birmingham, we are hosting our next public meeting on July 21st from the studio of contemporary art duo Simon and Tom Bloor. Come along and discover the benefits of collecting art in a group.

Susan Collis
She Falls Down, 2009
Limewood, walnut cedar of Lebanon, Douglas Fir, white holly, white gold, silver, oxidised silver, brazilian agate, smoky topaz, garnet, citrine
10 x 120 x 80cm

Image by Stuart Whipps, courtesy of Eastside Projects.

Susan Collis

Paint job
2004
160 x 45 cm
Boiler suit, embroidery thread
Courtesy of SEVENTEEN GALLERY

David Černý

I woke up to news of David Černý’s latest antics this morning.
One of my favourites has to be Babies,  Zizkov TV Tower, Prague.

Hello world from Sarah Loves…

Welcome to my personal scrapbook of all the things I love. You’ll find mainly art, design, shoes, furniture and architecture. I am a busy bee so will be mainly throwing up images and a couple of words but i’ll link to more information as much as possible. Sarah X