ALTAR TO CIRCE >>PROTOCOL >>>2018>> LONDON >> Frieze Art Week

ALTAR TO CIRCE >>PROTOCOL >>>2018>> LONDON >> Frieze Art Week

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Lab Film Festival 2015, Hackney Wick

Lab Film Festival 2015, Hackney Wick

Look No Further ( Curator /Artist ) Hackney Wick

Look No Further ( Curator /Artist ) Hackney Wick

Film Still from super 8 film , London Boys

Film Still from super 8 film , London Boys

Film Stills from Super 8 Fashion Films

Film Stills from Super 8 Fashion Films

Film Still from Super 8 Fashion Film , Dressing Room”.

Film Still from Super 8 Fashion Film , Dressing Room”.

Super 8 Film Still of my New York film, Kembra Pfhaler, in Karen Black

Super 8 Film Still of my New York film, Kembra Pfhaler, in Karen Black

Laetita Costa from my polaroid series

Laetita Costa from my polaroid series

Joel West from my polaroid series

Joel West from my polaroid series

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I AM PLEASED TO ANNOUNCE:

I have been commissioned to present a new film for the Museum of Contemporary Art Oaxaca, Mexico. “ Mixte Mixtii, Mixtec”. I will be lecturing, presenting a workshop and doing a performance based on film.

I have been commissioned to present a new film for the Museum of Contemporary Art Oaxaca, Mexico. “ Mixte Mixtii, Mixtec”. I will be lecturing, presenting a workshop and doing a performance based on film.

https://museomaco.org

https://museomaco.org

  • Empire II World Tour: Exhibited in : Brussels, Paris, Berlin, Tallinn, London, Kendal, 57th Venice Biennale, Madrid, Zagreb, Oaxaca

Scroll through my Paintings Gallery to see my work. I’ve also recently added Fashion Illustrations. Contact me and I’ll draw you some fashion..

Film Still " My Brutalist Heart" @ 2017 Venice Biennale Empire II https://vimeo.com/217853555

Film Still " My Brutalist Heart" @ 2017 Venice Biennale Empire II https://vimeo.com/217853555

Come to a multi Story car park, with Multi Artists in the Multi verse...THE CRASH..I'll be exhibiting a new installation piece, during Frieze..  Painted Leather, Drums, motorcycle helmet, car parts, paper, majorette helmet, fishing lures…Cavendish Square Gallery

Come to a multi Story car park, with Multi Artists in the Multi verse...THE CRASH..I'll be exhibiting a new installation piece, during Frieze.. Painted Leather, Drums, motorcycle helmet, car parts, paper, majorette helmet, fishing lures…Cavendish Square Gallery

“ The Reverie of Poor Susan” . JULY @2017 I have been commissioned to exhibit an new Site specific installation piece, @ Zero Gravity, at the  MC3 project space  in East Sussex.

“ The Reverie of Poor Susan”. JULY @2017 I have been commissioned to exhibit an new Site specific installation piece, @ Zero Gravity, at the MC3 project space in East Sussex.

 

In 2017 I was commissioned to build a Space Pod Crash Landing for the exhibition Big Deal No. 7. Some of the materials I used were audio tape, salt, mylar, and I altered a boombox to play my film Hal on it. For the performance I wore a dress from designers Kokon Ton Zai which I electrified, and I played my korg X5g, which like most of my builds, was a found and fully functioning object.

Commission Space Pod Landing for Big Deal No. 7

Commission Space Pod Landing for Big Deal No. 7

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INSIDE /OUT Hackney Wicked , 2017, Curated by Gavin Turk and Anna Maloney

I built a site specific Space Hut at the end of the world, inside of Gavin’s Studio using materials, found in Hackney Wick and in Gavin’s studio. Inside was a series of mirrors that projected the film “ Who is Susan Supercharged?” onto myself and participants, creating a fully immersive experience.

You can now buy my films in the Art Vending Machine

You can now buy my films in the Art Vending Machine

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If you pass by  Venice Biennale , check out another show I'm in  FIT THE SLIT...  Surf's Up! Alberoni Beach, LIDO Venezia 2017

If you pass by Venice Biennale, check out another show I'm in FIT THE SLIT... Surf's Up! Alberoni Beach, LIDO Venezia 2017

Brussels Art Week Empire 2 my film played in an amazing gallery space in Association with Frederic de Goldschmidt & John Adams  image by India Roper Evans

Brussels Art Week Empire 2 my film played in an amazing gallery space in Association with Frederic de Goldschmidt & John Adams

image by India Roper Evans

I created an interactive live film project for the Siger Gallery in London, projecting my film directly onto myself and viewers as I circled the gallery. “ Coney Island Self Portrait” @2107

I created an interactive live film project for the Siger Gallery in London, projecting my film directly onto myself and viewers as I circled the gallery. “ Coney Island Self Portrait” @2107

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I fullfilled my lifelong Fellini dream moment by being asked to be in Jelili Atiku’s performance for the Nigerian Pavilion’s at 57th Venice Biennale. Mama Say Make I Dey Go, She Dey My Back, 2017.

I was commissioned by Fish Island, Hackney Wick to create a series of four Billboards for the new Fish Island development. @2016

I was commissioned by Fish Island, Hackney Wick to create a series of four Billboards for the new Fish Island development. @2016

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https://www.artrabbit.com/events/giveaway

https://www.artrabbit.com/events/giveaway

My film was written about in the BFI magazine.

My film was written about in the BFI magazine.

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I created a film for for artist Terry Smith’s piece, Combine, at V22 studios.

I created a film for for artist Terry Smith’s piece, Combine, at V22 studios.

039. Susan Supercharged

( Interview from TRACTION Magazine)

There She Goes my Beautiful World. Billboard. (“This is the moment that life walks away from you, and you can hardly believe it”). 

Susan Supercharged, talks Traction through the perks of living and working with an alter-ego. 

“There she goes my beautiful world”

“There she goes my beautiful world”

Your most recent exhibition ‘YOU DRIVE, I’LL DETONATE’ was at Stour Space Gallery, London. Can you give our readers a taste of what was on show there?

For my installation at Stour Space I created a piece called 'You Drive, I’ll Detonate’. It was my response to a psychogeographic walk through Hackney Wick, incorporating my beliefs in portals. Starting with a two photographs of Warhol Superstars, and an Invitation from NASA, the journey begins with a film of Susan Supercharged in her space pod landing, there are maps , (the landing strips) that came from the 'Lifecodes’ which are large graphic collaged digital manipulated prints, and paintings of a dystopic future Hackney Wick, and concluding with destruction Billboards from the end of the World.

Film still from 'You Drive, I’ll Detonate’. Film still from 'You Drive, I’ll Detonate’. [“Here you can see the two photostats I mysteriously inherited. The top one is from Nasa ,and is an invitation inside a Mylar Dome. (This becomes the inspiration for Susan Supercharged’s Space Pod and Helmet), and a time portal of Andy Warhol’s Superstars in London. The film on the TV set is a response to these two photos”].

“ I am so not ok.”

“ I am so not ok.”

Your most recent exhibition ‘YOU DRIVE, I’LL DETONATE’ was at Stour Space Gallery, London. Can you give our readers a taste of what was on show there?

For my installation at Stour Space I created a piece called 'You Drive, I’ll Detonate’. It was my response to a psychogeographic walk through Hackney Wick, incorporating my beliefs in portals. Starting with a two photographs of Warhol Superstars, and an Invitation from NASA, the journey begins with a film of Susan Supercharged in her space pod landing, there are maps , (the landing strips) that came from the 'Lifecodes’ which are large graphic collaged digital manipulated prints, and paintings of a dystopic future Hackney Wick, and concluding with destruction Billboards from the end of the World.

Film still from 'You Drive, I’ll Detonate’. Film still from 'You Drive, I’ll Detonate’. [“Here you can see the two photostats I mysteriously inherited. The top one is from Nasa ,and is an invitation inside a Mylar Dome. (This becomes the inspiration for Susan Supercharged’s Space Pod and Helmet), and a time portal of Andy Warhol’s Superstars in London. The film on the TV set is a response to these two photos”].

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For 'YOU DRIVE, I’LL DETONATE’, you created an experiential environment for the viewer to temporarily inhabit. How do our reactions to art change when we enter into an immersive situation such as this? 

The viewer should be intrigued, pulled in and disorientated but able to pick up on a sign or a code that feels familiar yet questionable to each individual. Each element has its own function and points to another element. The entire show is linked, but I found that each viewer had an attraction to a certain aspect, not the whole. I wanted there to be a bombardment of imagery to force the viewer to seek further, with equal parts of distress and fun, and piece them together like a big puzzle. Each section of the show references another section which adds to the fluidity of the installation whether the viewer knows it or not; they are being manipulated. Using the large space of Stour, the windows a looking out onto the canal and the Olympic Grounds also added to this chaos and confusion and the Space Pod footage was taken here, so the mix or the inside and outside worlds became skewed.

Tell us about Susan Supercharged. When did her character start to develop and why?

Susan Supercharged was born out of a situation in real life, in which I was involved with a trauma, on top of a trauma, on top of a trauma. These events occurred together and were extremely challenging both emotionally and psychically. I was faced with a huge list of Herculean tasks that I had no idea how to get through on my own. I needed help, so I invented an alter ego, Susan Supercharged, who could take over. Not a noble creation, but one of necessity arisen from complete fear. I quickly released that to keep Susan Supercharged alive, I had to time and space travel, seek out meaning, symbols, and portals, to try and make sense of the world. She needed to be indestructible, as I was very certain the world was trying to erase me.

I also felt that she was the vessel to grab back my power: be the proof of female strength and exhibit an idealised beauty.

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One of the prototypes for the clone of Susan Supercharged, shown here in its space helmet, during the Space Pod landing in Hackney Wick.

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The first pieces of artwork I did as Susan Supercharged were in a semi- trance like state, (that arose from terror) waiting for surgery, where I spontaneously wrote and drew over the ads of Vogue magazine, which were a direct response to the hype of beauty, and the disappointment that ensues. They are too emotional for me to even look at, but were the beginnings of Susan Supercharged’s work, which led into the collage work and cut ups that is the main body of this show. I also have a history of some random encounters with Andy Warhol and being up at the Factory, so I think a lot of people like to think it’s my Superstar name given by Andy. Susan Supercharged continues to outshine me, I like her, she’s simply a clone.

You work across painting, collage, film and sound. What are the common threads that run through your diverse practice? 

Melancholia, isolation and constantly seeking hope. I continually feel displaced, as I am American and now, British, so I’m never quite sure where I belong, and the longing for each culture does not go away. It’s exciting and heartbreaking at the same time. I work across film, sound, painting and print as these visual clues are literally thrown at me (us) daily, and should be kept for further safe keeping, and pulled out when needed. I use these artefacts as signposts. My work and life is an enormous collage, this is where the truth of my work lies, I use a Burroughs-esque cut up method to inform me and receive information, from wherever it comes from - paint, sound, film… I try to develop a type of artistic courage, I’m very comfortable with making mistakes, I am no perfectionist. It’s in all the haphazard mistakes that I find magic and meaning in all the components. I was struggling with a title for the show when literally a scrap from a comic book fell on the floor that said 'You drive, I’ll Detonate’… I trust the random sources; they have never let me down.

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Lifecode 'Capricorn 15’. 70 x 100 cm. ['The 'Lifecodes’ are a series of compositions I created from my experimentation with the manipulation and collaging of someone else’s line. I was trying to dissect the power from comics and see if I cut it all up if the power would still exist. It did. I wanted to cut into the chaos using morris code to calm the action down ( dash dash) which also became like musical notes"].

What is coming up next for you?

First of all a huge state of Reflection. This has been a year’s work and it’s obviously a cathartic piece. I hope to show in New York this year, and I will also re visit the self portraits of Susan Supercharged. There was supposed to be a wall of over 100 portraits in the Space Pod, but only 14 were shown. I also would like to get sponsorship for my Billboards to install in a large outdoor space, I started these over 15 years ago as false advertising campaigns, so it’s about time to get some real Billboards at the end of the World.

Interview by Susie Pentelow.























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Empire 2 Catalogue , with Glow in the Dark Cover published by  Victor Hotz Studio .

Empire 2 Catalogue , with Glow in the Dark Cover published by Victor Hotz Studio.

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