Reaching for the Moon (As Far as the Eye Can See)

Reaching for the Moon (as far as the eye can see) vintage curtains, thread, metal,

mineral pigments, makeup, paint, rock, light, 280 x 160 x 110cm

Gazing through a domestic lens our understanding of the world beyond is both revealed and concealed through ebbs and flows of knowledge. Reaching for the Moon reflects upon the complexities of our interrelationships with spaces and how cultural and social perspectives transform our experience of place.  

Vintage curtains and their metaphorical associations with the discarded, the everyday, the body and gender are utilised to investigate the phenomena of viewpoint. Constructive and destructive making traditions examine tensions between the visible and the felt, interior and exterior space, social realities and romantic ideals that influence our perception and knowledge of our worlds.  
The moon is often cast as a cultural mirror upon which we project notions of hope, aspirational dreams, escape, utopia, spirituality, quests for discovery or a desire for universal conquest. It’s a talisman that connects us all but we also experience it differently, depending on our cultural and social veiwpoint. Gazing upwards at the sky our concept of the moon never wanders too far from the worlds we know best.

Rise and Fall


Suzanne Davey, Rise and Fall, textiles, thread, ink, 180cm x 130cm x 40cm

Rise and Fall is a textile work created in response to recent political storms and to the rise of the right.  It wafts and wanes in the lightest breeze. Exhibited in Four Elements: Water, Warringah Creative Space.

Suzanne Davey, Rise and Fall, installation view.

Artist Statement:

Tides rise and fall, waves rise and fall, storms rise up….. and fall away.
Water rises and falls with its own agency and we rise and fall in its wake.
The rhythms of ocean systems mirror social and political storms we face now; the rise of the right and political aggression and the resultant flows of people in the wake of these surges.
Webs of crossings and traversing, flows and networks of social relations, our fragility in the face of storms and the constancy of change are investigated through textiles. Utilising the language of sails and flags time and human action is made visible as the surface is ripped, pierced, punctured, repaired and stained and new connections are made.
Together with water we rise and fall, face change and unknown futures.


Gathering Shadows


Suzanne Davey, Gathering Shadows, ceramic, brick, bones, wood, charcoal, metal,charcoal, shells, 70 x 300 x 300 cm


Gathering Shadows is a site responsive installation that responds to the changing cultural history of the Coal Loader, Waverton, from its indigenous heritage, land use on the site, its role in facilitating the coal mining industry through to its current role as a centre for sustainability on the harbour foreshore. 
The work considers our inter-dependence with site histories (indigenous, animal, geological) and the potential future consequences of our collective actions and inaction towards environmental ecologies. 
Notions of temporal flows, site ruptures and dis-ruptures, surface wounds and healing are investigated. 
The work explores clay as a media shaped by human touch and the ceramic traditions of containment. Unable to hold back their contents shells, small animal bones, charcoal and bricks flow and spill in the shadows of the ceramic forms. 
Installation detail Gathering Shadows, ceramic, bricks, small animal bones, wood, charcoal, shells, metal,
70cm  x 300cm x 300cm
Ceramic form detail, Gathering Shadows, ceramic, bricks, small animal bones. wood, charcoal, shells, metal, 65cm  x 45cm x 45cm


Collecting Mountains

Suzanne Davey, Collecting Mountains, sound, ceramics, photography
 and mixed media. 220cm x 200cm x 150cm


Collecting Mountainsis multidisciplinary installation created for EARTH: Four Elements exhibition at Warringah Creative Space. The project includes sound, photography, ceramics, plants, books relating to mountains, topographical maps of mountainous areas, domestic furniture, bricks and volcanic rocks. The sound element was a soothing Mountain Meditation repeated continuously. It was created by Wendy Wood, University of Derby, as part of a nursing workshop on compassion focussed therapy.
Collecting Mountainsreflects upon our complex and contradictory interrelationship with geology and our passive observations of the altered ecologies of the earths surface as we go about our day to day lives.
The work investigates mountains as a cultural construct upon which we project our desires for conquest, escape from the everyday, for spiritual fulfillment, our thirst for exploration and aspirational dreams. They fulfil key physical and psychological human needs yetwe transform them irrevocably via land acquisition, large scale landscaping, mining and architectural interventions.
The installation explores clay as an earth resource transformed by human action and draws upon ceramic decorative traditions of display in a domestic context, as passive background to our everyday experiences.
Collecting Mountains asks how we might re-imagine our future relationshipwith the earths surface and considers how we may evolve into a sustaining speciesthrough reflection and thoughtful action.
Ceramic detail, Suzanne Davey, Upside Down Mountain Pot, stoneware,
metal stand, plant 180
cm x 55cm x 55cm
Installation detail, Suzanne Davey, Book Mountain, stoneware,
books (mountain books not depicted), 50cm x 60cm x 35cm


Ceramic detail, Suzanne Davey, Slices of Mountains,
220cm x 200cm x 150cm
Installation detail, Suzanne Davey, ceramic from Shadowlands series,
stoneware, 25cm x20cm x 20cm

Exhale: SEED STITCH Contemporary Textile Exhibition

Suzanne Davey Exhale, fabric, resin, thread, steel 140cm x 60cm x 60cm

Exhale featured in SEED STITCH Contemporary Textiles, an exhibtion curated by distinguished artist Soraya Abidin.  Exhaleaims to investigate moments in-between: between our conscious and unconscious states and the interior and exterior spaces we exist in as we navigate the the whirl of known and unknown factors in our contemporary world.

Recieving the Betty Stirton award. From left Artist and SEED STITCH curator Soraya Abidin,
Betty Stirtons neice, Betty Stirton OAM and Suzanne Davey

I was thrilled to win the Betty Stirton Award! Betty Stirton OAM dedicated herself to textile education as a TAFE teacher for 35 years.

What Remains: SALTWATER exhibition Manly Art Gallery

Suzanne Davey, What Remains, ceramic, salt, 50cm x 250cm x 100cm

What Remains features in SALTWATER, an exhibition currently on at Manly Art Gallery. The ceramic sculpture and salt installation responds to the ocean as a dystopic landscape. It explores the sea as a place where contemporary human dramas are played out as people seek sanctuary and safe harbour, and as a site of irreversible ecological and geographical loss in a climate changed future. The work is a fragile memorial relic that references our complex cultural, psychological and corporeal connections to the ocean through motifs of human and marine anatomy as well as maritime architecture. Despite human loss and environmental destruction ‘what remains’ is the chance to seek new responses and political solutions to human struggles.

SALTWATER celebrates the vibrant arts community of Sydney’s Northern Beaches at Manly Art Gallery and showcases new art works by 45 Northern Beaches artists.
The exhibiting artists have taken inspiration from a single theme – Saltwater. “The concept of ‘Saltwater’ has been a recurring area of interest for Manly Art Gallery & Museum throughout 2015 and was chosen to reflect the multiple possibilities and perspectives of saltwater as an idea, a metaphor, a possibility, a physical place and as a cultural presence,” said Senior Curator Katherine Roberts. Saltwater includes photography, painting, drawing, printmaking, sculpture, glass and ceramics.
Suzanne Davey, What Remains, ceramic, salt, 50cm x 250cm x 100cm
Suzanne Davey, What Remains, ceramic, salt, 50cm x 250cm x 100cm

Public Art Project Avalon Art Carnivale 7-21 November

Windsongs public art installation and flags both feature in the public art carnivale at Avalon. Created by Suzanne Davey, Christina Frank and Lisa Marshall they feature reconfigured discarded umbrellas and together they speak of fragility and the power of transformation.

Suzane Davey, Christina frank, Lisa Marshall Windsongs public art installation, mixed media 350 x550 x 400cm

Shadow Pop Up Sculpture Mosman Festival

Suzanne Davey, Shadow, 250cm x 300cm x 90cm, steel, styrofoam, paper pulp, paint

Shadow is a sculptural response by artist Suzanne Davey to the opening of the Mosman Art Gallery exhibition The Unending Shadow, an exhibition of artworks by prominent Australian mother and daughter artists, Ann and Sophie Cape. Together they have made a series of challenging new artworks exploring the phenomena of Dementia and its impact within the community. The exhibition examines the emotional and psychological ‘spaces’ that people with dementia inhabit, as well as those of their family, friends and loved ones. Works can be seen Thursday 10 September-Sunday 29 November 2015. Shadow is a pop up sculpture for Mosman Festival 2015.

The Gravity of Moments

Suzanne Davey, The Gravity of Moments, fabric, steel, resin, 350cm x 350cm x 350cm

The Gravity of Moments is a large suspended installation that flutters in the breeze. The work is featured in Sculpture in the Glen, along with 50 local, national and international artists work and includes small indoor and large outdoor sculptures in a variety of media. The exhibition is curated by Penny Philpott and celebrates Glen Street Theatre’s 30th anniversary. It opens 5 September and continues untill 25 October 2015. The ethereal sculpture responds to its theatrical site and bushland gardens.

Harbour Sculpture

Harbour Sculpture 2015, featuring 88 artists; 51 indoor and 61 outdoor sculptures

Suzanne Davey, Echo of Invisible Things, clothing, resin, 240cm x 140cm x 100cm

Suzanne Davey, Echo of Invisible Things, clothing, resin, 240cm x 140cm x 100cm
Suzanne Davey, Echo of Invisible Things, clothing, resin, 240cm x 140cm x 100cm

Suzanne Davey, Echo of Invisible Things, clothing, resin, 240cm x 140cm x 100cm