They aim to challenge the notion of beauty by drawing ones own and contrasting it with the dark and the strange.As well they tell a story of fearlessness allowing whoever wears these objects of art to be transformed; bringing out inner confidence and strength.Someone could not woke someone up from its fainting, from its death; that’s almost indecent and yet I believe him; I believe this quest for beauty in all places that supposed to be covered with dirt.
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.
Ugly Lovely is a description to define something that might repel at first but then become beautiful.
Her headpieces from this collection are an ode to unconventional beauty.
Transmutation was the word that came to mind the first time I saw milliner Sahar Freemantle's Magpie inspired Ugly Lovely collection.
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.
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.