My full time studio practice includes clay sculpture and printmaking.
The work derives from interest in the tension of strength against fragility and as I push the work towards the edge of physical collapse, this theme becomes more potent. The work is hand-built and sculptural in nature. The use of light interplay provides a perceived fragility explored through stacking and channeling of hand-built clay platelets.

The sculptures are often turned, tilted, built upon and re-fired, investigating the strength required for negotiating the relation between our interior and exterior worlds. Heaving, disrupted, uprooted forms hover in the space between the solid and the fluid, the fissure between order and chaos, of fluidity and brittleness.


Where previous series of Labyrinth and Laurel explored a body scale relationship based upon the vessel- pierced and layered, unable to contain more than light – this new work “Maelstrom” and “Aggregate” series, challenges my own approach and perceptions in moving away from the vessel, exploring disorder in a complex stacking of abstract passageways.

Working with clay influences the printmaking, encouraging a sculptural approach. The plates composed of stitched and reconstructed industrial roofing copper gives a second reading of strength and organic tracings embossed into the paper, reaffirming perceptions of fragility and transience.

Susan Collett

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