On 15 November Susan Collis joined us to talk about her practice and career.
Susan Collis uses a variety of techniques and strategies to investigate issues concerning interpretation, craft, value and labour. Everyday objects are presented etched, splattered and stained with marks of work, wear and tear. At first glance, the marks seem to be the accidental results of normal use, and as such seem meaningless and not worthy of examination. Collis is interested in the shift of perception that takes place upon discovery that they are, in fact, careful, intentional acts, and that the materials used are traditionally valued for their financial or decorative properties.
Susan was invited to talk about her work by The Ultras, who are a group of twelve female artists within ESP. The Ultras supports a new group of womxn each year, creating space for dialogue, development, care and empowerment.
Susan Collis’ recent recent solo exhibitions include When we loved you best of all at Touchstones, Rochdale; The Price of Nails at Meessen de Clercq, Brussels; Since I fell for you, Ikon, Birmingham; Twice Removed, Espacio Minimo, Madrid. She has shown in group exhibitions including Lifelike at Walker Art Center, Minneapolis, touring to New Orleans Museum of Art, Museum of Contemporary Art, San Diego and Blanton Museum of Art, Austin, Texas; The Workers at MASS MoCA, De-building at Christchurch Art Gallery, New Zealand; La Vie Mode d’Emploi (Life a User’s Manual) at Messeen De Clerq, Brussels; MYSTICS or RATIONALISTS? at Ingleby Gallery, Edinburgh; False documents and other illusions, Portland Museum of Art, Maine; Apparently Invisible, The Drawing Center, NY; At Your Service, The David Roberts Foundation, London and Out of the Ordinary, The V&A Museum, London. Her work At the End of the Day was included in Sculpture Show at Eastside Projects in 2009 and remained in the space as a long term artwork until 2016.