Susan Brind

Job Title:

Reader in Contemporary Art: Practice and Events; Lecturer, Sculpture and Environmental Art; Co-ordinator, MLitt Fine Art - Sculpture Pathway


Sculpture & Environmental Art



Susan Brind:
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Susan Brind:


Susan Brind

Using sculpture, photography, video, and text Sue's practice has mainly been concerned with the body as a site of understanding, subject to external influences and internal experiences. Implicit in the work is a tension between rational forms of knowledge and intuitive thought.

As examples, installations such as "The mind betrays the body " (Cambridge Darkroom, 1991) and "Mysteries of the heart" (Camden Arts Centre, London, 1994 - a collaboration with Jim Harold) addressed Medicine and its definitions directly. The works examined the complex and ambivalent relationship between the individual and the hospital, and the point at which the feeling subject becomes the object of the medical gaze. Subsequent works turned to consider both the body and the mind in extreme states. In "Out of your body - out of your mind" (Art Museum of Estonia, Tallinn, 1998) and "bad air [mal-aria]" (a permanent commission for London School of Hygiene & Tropical Medicine, 2001), physical 'symptoms' are described through the juxtaposition of architectural space and language, both works employing installation as a form. These all remain key interests but more recent works, (made for RSA Edinburgh, 2008 and CCA Glasgow, 2011) resulting from a collaborative Research Residency (2007) at Hospitalfields House, also integrate ideas about the relationship between culture and nature as a subject within the work and the use of sound as material.

Increasingly textual research has been used as both a precursor to the realisation of work(s) and as material within the making process, as has an engagement with site, place and context.

Sue is a member of the Board of Directors of The Common Guild and prior to that was one of the founding Board members of The Modern Institute, Glasgow. Connections with artist-run projects and spaces in Glasgow dates back to circa 1990. In addition, Susan has also undertaken a number of curatorial projects, including "The Reading Room" (for Book Works, London in 1994) and the Artists Research Fellowships (for Visual Art Projects, Glasgow in 1999), amongst others; projects that utilized contexts other than conventional exhibitions spaces for the production and dissemination of work.

Overarching her praxis, therefore, is an interest in the presentation of art both out-with and within conventional gallery settings, and an understanding of how context affects how work is produced and received.