The Unfurling

Suzanne Davey, The Unfurling, textile, resin, 350cm x 450cm x 450cm

Exhibited in 3D Poolside, Warringah Aquatic Centre, curated by Bronwen Dugan. Drifting dreamily in trees by the poolside The Unfurling explores ideas about the importance of sanctuary for us all, having the opportunity to escape from our everyday struggles. We are all subject to forces beyond our control but a taking a breath of air, connecting with precious natural environments can nourish and transform us so we are ready to face the world once again with renewed hope and resilience.

Suzanne Davey, The Unfurling, textile, resin, 350cm x 450cm x 450cm
Suzanne Davey, The Unfurling, textile, resin, 350cm x 450cm x 450cm
Suzanne Davey, The Unfurling, textile, resin, 350cm x 450cm x 450cm

Dopamine

Suzanne Davey, Pffft……, detail, textile, wire, 280cm x 130cm x 130cm

The Seed Stitch Collective are playing with the theme ‘Dopamine’ for this year’s Sydney Craft Week. Best known as the driving force behind the feelings of anticipation, euphoria, motivation, and desire, this potent chemical has a complicated flip-side. Through the contemporary use of textile mediums, Soraya Abidin, Suzanne Davey, Niki McDonald, Christina Newberry, Emma Peters and Kylie Walsh each bring their personal take on the Dopamine theme to generate a space radiating with energy and colour in a group show at GAFFA Gallery.

Suzanne Davey, Pffft……, textile, wire, 280cm x 130cm x 130cm

Look here! Now over there! Me, me, me! What, is that me? I am so in loooove! Our everyday digital world is awash with images passing before our eyes; they wow us, entertain, mesmerise, move, shock and distress us but we can’t stop looking. The puff and ruffle of our constructed social media identities razzles and dazzles us. The shiny, the new, the now, all captures our fleeting attention. That dopamine rush. Technology systems enter our virtual spaces, forever expanding and developing new ways to hook us to their particular message. Pfffft… asks what are we truly seeing? What are we really experiencing? Who are we connecting with? What does visibility mean in a media saturated world?

Suzanne Davey, The Saga, bedsheet, clothes, ceramic, polyester filling, 110cm x 70cm x 8cm
Suzanne Davey, The Saga, bedsheet, clothes, ceramic, polyester filling, 110cm x 70cm x 8cm

The Saga explores the dynamics and complexities of relationships from a feminine perspective using domestic textiles. The work responds to romantic struggles and failed relationship tales, accounts of sexual transgressions against women, both personal and collective. The sheet, with its physical proximity to skin and bodily experiences is utlised as an emotionally charged site where love and personal drama is experienced, in sickness and in health. Memories and histories, both good and bad, are embodied in the fabric stains, marks, surface rumples and gathers created by bodies tossing, turning, resting. The Saga employs romantic gesture; a floral bouquet and scattered petals, to mark the fabric through the application of heat. It uses the language of romantic opulence; ruffles, frills and gathers of gendered clothing, to question power and control in relationships and its role in creating feminine histories.

Garden of Cruel Delights

site responsive installation Coal Loader Waverton
Suzanne Davey, Garden of Cruel Delights, plants, wood, metal, bricks, stone, jute, copper, 250cm x 250cm x 800cm

A site responsive installation exhibited at the historic Coal Loader, Waverton, as part of the North Sydney Art Prize, curated by Alison Clark. The work was located on the Coal Loader Platform, surrounded by community garden beds. It extends and builds upon The Garden of Cruel Delights photographic series exploring our inter-relationships with plants.

site responsive art installation Coal Loader Waverton
Suzanne Davey, Garden of Cruel Delights, plants, wood, metal, bricks, stone, jute, copper, 250cm x 250cm x 800cm

Statement:

The Coal Loader is an exchange zone between us, plants and environmental forces, where flora experience constant transformation through our destructive and constructive actions. Tactile and material interventions performed on living plants are utilised to examine concepts such as empathy, control, adaptation to showcase the power of plants to lead us to better futures.

site responsive art installation
Suzanne Davey, Garden Of Cruel Delights, installation detail
site responsive art installation
Suzanne Davey, Garden Of Cruel Delights, installation detail
site responsive art installation
Suzanne Davey, Garden Of Cruel Delights, installation detail
site responsive art installation
Suzanne Davey, Garden Of Cruel Delights, installation detail
site responsive art installation
Suzanne Davey, Garden Of Cruel Delights, installation detail
site responsive art installation
Suzanne Davey, Garden Of Cruel Delights, installation detail
site responsive art installation
Suzanne Davey, Garden Of Cruel Delights, installation detail
site responsive art installation
Suzanne Davey, Garden Of Cruel Delights, installation detail
site responsive art installation Coal Loader Waverton
Suzanne Davey, Garden Of Cruel Delights, installation detail

Reaching for the Moon

Suzanne Davey, Reaching for the Moon , curtains, thread, metal,  makeup, paint,  280 x 160 x 110cm
Suzanne Davey, Reaching for the Moon , curtains, thread, metal,  makeup, paint,  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, textile, metal, 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 internationally.  It wafts and wanes in the slightest breeze. Exhibited in Four Elements: Water, Creative Space.

Suzanne Davey, Rise and Fall, textile, metal, ink, 180cm x 130cm x 40cm

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.

All That Remains: SALTWATER

Suzanne Davey, All that Remains, ceramic, salt, 50cm x 250cm x 100cm

All That Remains featured in SALTWATER, a group exhibition at Manly Art Gallery curated by Katherine Roberts. 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.

Suzanne Davey, All That Remains, ceramic, salt, 50cm x 250cm x 100cm