16 March 2012 - DasPlatforms

Susan Jacobs // Parallel Collisions: Art Gallery of South Australia

Susan Jacobs discusses her work for "Parallel Collisions", the 12th Adelaide Biennial of Australian Art at the Art Gallery of South Australia. Video Production: ...

the works called snake drawing and it's

done from an idea that I had many years ago when I came to the ocular South Australia I noticed that there were several serpents in some of the sculptural objects in this in the elder wing and also in some paintings and that triggered the idea which is essentially holding a snake over a bit of casting sand and casting the tracks that the snake hopefully makes on the sand into a bronze relief and so the work I always intended the work would be a video and the sculpture and also incorporated the use of two of the collections sculptures the first one is Cersei by Bertram the kennel it's a market for that sculpture and the second is had an a by web Gilbert and they kind of by acting as brackets for the work that I've made for the show the work is a video of attempts to draw on a bed of store alight which is a mineral sand type substance which is impregnated with a catalyst which means that after exposure to the air after about half an hour or 45 minutes thus and sets so the marks made by the snakes in the store alight have been cast and from that cast which was made from a silicon mold of the hardened sand a lost wax process was done so wax was

poured into the silicon silicon mould taken off and the wax invested as in how lost a lost wax bronze will be cast so what you see in the gallery is a bit of sand that is cast in bronze and it has a black patina and the video of the attempts to draw with two separate snakes which was filmed on location in a foundry based in Melbourne I guess I'm interested in the inverse version of a the physical process of how the work was made in that involves positive and negative and inciting the works in relation to the collection pieces whether you know that they're very help heavily laden in terms of mythological associations and meaning it's actually been quite a challenge for me to work with quite heavy symbolic kind of themes it's not generally how I tend to work and I often work in a very open-ended way so what I produce as a result of a process is often impossible for me to predetermine so I'm always at the whim of chance but I'm really interested in working between this sort of idea of control and chance so there's a lot of contradiction within that as well because you know this parameter was set up as in the snake to crawl over

this better sound so there was a street perimeter that I implied yet I was at the mercy of what the snake would do and it was important to have the video and the sculpture on par in terms of their size so that there was no there wasn't a formal hierarchy established between the works and I wanted them to be quite low and quite sort of dense and so their placement is in relation to the things that are around them but they're sort of staggered in a way that you start to make new relationships and be able to stand in particular parts of the room and align certain things with each other so there are different kind of physical and temporal trajectories that have been formed in the space through the work of mine and through the collection objects it's a very subtle intervention into the space and I'm aware that it's potentially could be lost that the collection works are having moved but i think you know it's something that sort of works on you over time because there are many layers to it and it can be read at face value or it can be extrapolated through noticing the subtleties of the other serpentine figures in the other sculptures

depending on how how careful you want to consider already look at things a lot of my work deals with vast shifts in scale so between large architectural interventions or installations that I'll build but then they'll be very small elements are located within that so it's kind of a lot of it is about sort of encouraging a sort of focus of looking and thinking so a lot of it is about sort of projecting allowing creating a space so that so that the viewer can project onto and through space and materials it's not always particularly about space and materials but I like to sort of work in way with materiality so that it starts to embody ideas or embody even subconscious responses to the condition of working with it often works will tend to kind of take on a material sort of problem solving not to find an answer to a problem but just to kind of potentially offer solutions or sort of try to extrapolate conundrums that are either a parent or self imposed so I guess that comes back to that idea of working within your limitations that you know limitations are often self self enforced or or they're something that's perhaps presented as a challenge so yeah

it's really about a sort of philosophical way of way of knowing about the world you

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