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Susie MacMurray: Sculptural Sensuousness and Play

22 Nov
Blind 2004, Peacock Feather Sphere

Susie MacMurray’s work encompasses drawing, sculpture and architectural installations. A former classical musician, she retrained as an artist, graduating with an MA in Fine Art in 2001. She now has an international exhibition profile and shows regularly in the USA and Europe as well as the UK.

Bristle 2008, Rubber Dairy Hose

An engagement with materials is central to MacMurray’s practice. Her role is one of alchemist: combining material, form and context in deceptively simple ways to stimulate associations within the viewers’ minds and to elicit nuanced meanings.

Oracle 2008 rubber dairy hose, dimensions variable

Working in installation and sculpture she has gained a reputation for site-specific interventions in historic spaces. Her work frequently references the history of a space and seeks to merge the particularities of that history, the specifics of site, and the inherent references attached to materials in an attempt to gain insight into the relationship between place and people.

Stratum 2011 Islington Mill, attic space 80 kg feather down

Drawing is an important part of MacMurray’s practice. In addition to her large scale pen & ink work she extends the possibilities of making drawings using unconventional materials including rubber tubing, hair and wax.

Drawing & Mapping (2)

2 Nov

Drawing as a simple primal activity, an end in itself, or more normally a means of situating the self in the world; as an expressive and a communicative activity. The cognitive and political significance of mapping. Both mapping and drawing serve to establish the position of the reader/viewer in relation to space referenced. Maps and drawings may be essentially public or private either way these essential communicative systems are freighted with signficance.

 ‘Drawing never dies, it holds on by the skin of its teeth, because the hunger it satisfies. The desire for an active, investigative, manually vivid relation with the things we see and yearn to know about . . . is apparently immortal.’

Robert Hughes, critic

Mapas Mentais (Mental Maps), Desde A até M (From A to M), Anna Maria Maiolino (Brazilian, 1942-)

See Big Think Article:

The Matrix: The Political Dance of Modern Drawing at the MoMA

“The contemporary conception of drawing,” de Zegher continues, “emphatically stresses reciprocity and empowerment, acknowledging that a single line can challenge and change the understanding of the ground itself.” Works such as Anna Maria Maiolino’s Desde A até M (From A to M) From the series “Mapas Mentais” (Mental Maps) (shown above) rework the theoretical landscape of the “mental map” of drawing and allow for disenfranchised voices to be heard rather than drowned out by the din of the Picasso crowd. Women artists, de Zegher contents, lead a chorus of “compassionate witnessing” that the 21st century will need to negotiate the new global reality and to survive.