SUSAN JACOBS

2015

HD video (silent), steel mount, drilled aluminium glove mould, lead, crushed magnetite

Guirguis New Art Prize exhibition 2015

Ballarat Art Gallery, Australia

Photography: Ben Cox

2014

Decommissioned conveyor belt found stored in the top level of the gallery building, adapted and re-assembled in the gallery space with manual crank, turned intermittently.

From the group exhibition Octopus 14: Nothing Beside Remains Curated by Tara MacDowell

Gertrude Contemporary, Melbourne Australia

Photography: Christo Crocker

2014

Solo exhibition 

Sarah Scout, Melbourne Australia

Living Museum of the West, Melbourne Australia 2015

Photos: Andrew Curtis

Hemacite handle, compressed pig's blood and wood flour, steel, neodymium magnet, carbon steel ball bearings, custom bound books, thread, cast iron, sand, ceramic, water, milk, vinegar, gallium, crushed magnetite, HD video, sound.

The first iteration of this work was commissioned by The National Gallery of Victoria Australia, for the exhibition Melbourne Now 2013 

Photos: Christo Crocker

Ingots made with the assistance of Torie Nimmervoll and Cadeyn Crawford

Poster: Yanni Florence and Susan Jacobs for Then Posters A project developed by guest curator Warren Taylor, founder of The Narrows, for Melbourne Now, NGV Melbourne 

(with Mitch Cairns and Tim Silver)

Breenspace, Sydney Australia

works:

} { To be dense and porous

Third Hemisphere (natural decline)

Third Hemisphere (sweet earth)

Third Hemisphere (draw the outside in) 

I (join and sever) 

Y 

IT (threshold) 

Mute Lever 

2013

steel, epoxy modelling compound, graphite, sliced bowling balls, clay, Hydrostone, timber, Wolf fish leather,fox teeth, pry bars, slingshot,wire, copper, magnets, steel ball chain, ball bearings

2012

Epoxy modeling compound, cast hydrostone, brass, bronze, steel, graphite, clay, metal polish, bowling balls, found objects, bone, bismuth, neodymium magnets, metal ball chain, copper, lead, particle board, bornite, iron, timber

Commissioned by Queensland Art Gallery / Gallery of Modern Art, Brisbane Australia, for the 7th Asia Pacific Triennial of Contemporary Art, 2012

Photography: Mark Sherwood, Queensland Art Gallery

This project was supported by the Victorian Government through Arts Victoria

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2012

Single channel HD video, silent (7 minutes 18 seconds, looped)
Bronze relief cast with painted steel base
Sculpture dimensions: 6 x 48 x 100cm
Steel base: 75 x 48 x 100cm
Edition 1 of 2 (+ AP)

Commissioned for Parallel Collisions 12th Adelaide Biennale of Australian Art,
Art Gallery of South Australia
Curated by Alexie Glass and Natasha Bullock

Photography: Art Gallery of South Australia

2011

A month-long collaboration with emerging artist Jessie Bullivant, facilitated by the Inaugural RMIT Arts Mentorship Program, Royal Melbourne Institute of Technology Melbourne Australia

Photography: Wanda Gillespie and Eugene Howard

Essay by Patrice Sharkey 

2011
Site specific installation; removed gallery wall, timber construction, steel, found objects, fluorescent light tubes, light fitting, neodymium magnets, ball bearings, intermittent performance.

Photography: Andrew Curtis and Jake Walker

Gallery text

With Bridie Lunney and Katie Lee, curated by Meredith Turnbull

Sarah Scout, Melbourne 2011

Photography: Jake Walker

A group exhibition with Christo Crocker, Susan Jacobs, Saskia Pandji Sakti, Daniel Price and Nathaniel Robinson. Curated by Daniel Price

If loss could weigh contemplates the idea of the negative, those un-seen and in between places. The works trace these non- spaces through drawing, sculpture, photography and installation. Examining the nature of things by way of deconstruction, decay and embellishment - be it a physical space or a mental landscape, an empty room, or through the alchemy of materials. If loss could weigh peers into the interior of ideas, the space where ideas come undone or flourish, creating new unknown forms, both real and imagined.

http://tcbartinc.org.au/if-loss-could-weigh/

A group exhibition featuring artists whose practices draw attention to the particularities of the everyday and the un-noticed. These artists' practices have a curiosity that bends our expectations of the world around us. Their work brings to the fore interstices, intervals and gaps in our collective vision. Focusing upon incidental, humble events, the exhibition includes video and object-based works inspired by modest observations and studio experimentation. Whether exploring the invisible forces of gravity and friction, remaking and skewing common objects, or de-familiarising simple human behaviours, Hidden Definition concentrates on what is often seen as beside the point.

With Akira Akira, Christo Crocker, Susan Jacobs, Campbell Patterson, Kenzee Patterson, Stuart Ringholt, Emma White, Marcin Wojcik, Nicki Wynnychuk. Curated by Liang Luscombe and Patrice Sharkey.

Sutton Project Space, Melbourne Australia

Photography: Christo Crocker

Click to view Sutton Gallery

A group exhibition with Katie Lee and Bridie Lunney. Curated by Meredith Turnbull

Die Ecke, Santiago Chile, 2011

This project was supported by Arts Victoria, Cultural Exchange project funding

Photography: Ross Coulter and Scott Miles

Exhibition Catalogue text

2010

Process-based action; removal of floor boards resulting in excavation of concealed, original tiled entrance to the building, c.1900.

0.5 meters x 1.2 meters x 10 meters

From the exhibition Opening Lines with Joyce Hinterding, Susan Jacobs, Katie Lee, Alex Martinis Roe, Philip Samartzis. Curated by Emily Cormack.

Gertrude Contemporary, Melbourne Australia

Photography: Andrew Curtis

Opening Lines text

2010

Solo exhibition Sarah Scout, Melbourne Australia

Photography: Sarah Scout and Jeremy Dillon

Text by Lou Hubbard

2010

Commissioned for NEW010, Australian Centre for Contemporary Art (in response to interior architecture designed by Nexus Architects) Melbourne, Australia

Neodymium and ferrite magnets, pyrolytic graphite, bismuth, paper, timber, lamps, light bulbs

Photography: Christian Capurro

Text by Rebecca Coates

2009

performance for video, HD video projection, sound, timber, electric fan, light fitting, light bulb

Commissioned for VCA Projects, Margaret Lawrence Gallery, The Victorian College of the Arts and supported by Melbourne International Arts Festival 2009

This project was supported by Arts Victoria project development funding

Photography: Christo Crocker

Actions, weed displacement, clearing

2009

Collaboration with Ardi Gunnawan

Re-using materials found on site at Anstey & Ashton, Gunawan and Jacobs subject them to processes of reconfiguration. Material actions are generated through problem-solving exercises or self-implied tests that gradually form their own logic. Working with the inherent condition of the site and it’s accumulated debris, this project continues the process-driven practices of both artists

http://www.osw.com.au/wbst/?p=98

2008

Site specific architectural intervention; re-distributed debris in Grenda’s de-commissioned bus depot, Dandenong Victoria Australia

Commissioned by Dandenong City Council, for the exhibition Depot with Campbell Drake, James Carey, Susan Jacobs, Cameron Robbins and Robbie Rowlands 

http://susan-jacobs-depot-installation.blogspot.com.au

2008

Solo exhibition The Narrows, Melbourne Australia

charcoal, graphite, lead, timber, epoxy adhesive

Side Effect is a body of studio-based sculptural work comprising charcoal, timber, graphite and lead. Objects have been formed cumulatively - some from the by-products of the making of others. They occupy a circular dialogue through the process of their making and their situation in relation to each other.

Photography: Scott Miles and Jonathan Doncovio

http://www.thenarrows.org/archive/2008/24.shtml

2008

A collaborative undertaking with Andrew Hazewinkel

Conical Inc, Melbourne Australia

Central to Exhausted Nature was the attempt to use a lens cast of ice to focus the suns rays and start a fire

Photography: Christian Capurro

Texts by Rebecca Coates and Adrien Allen

2007

Dead tree, false wall, timber door

Ocular Lab, Melbourne Australia

For Every Solution There Is A Problem involves the incongruous obstacle of a large dead tree, a domestically scaled doorway and false wall structure inhabiting the space of Ocular Lab, Melbourne. The work activates a type of physical and conceptual quandary, reflecting on the binary relationship between obstruction and thoroughfare

Photography: Julie Davies and Susan Jacobs

2007

Timber rods distributed within disused path over seven days

Commissioned for the exhibition Structure, Space and Place. Curated by Tony Trembath Kangaroo Ground War Memorial, Victoria Australia

The work was formed in response to a 12 metre stone monument; The Tower of Remembrance (1926) situated on the apex of Garden Hill, Kangaroo Ground in rural Victoria, Australia. This response negotiated the relationship between the decline of the hill, the path and the verticality and embedded symbolism of the monument. A collection of timber lengths were delivered at the top of the hill by a crane truck and dispersed individually along the path, working intuitively until the structure formed its own strength through repetition. The gradual process embodied a consideration of accumulative action and successive moments represented by the static monument

Photography: Tony Trembath

2008

timber, metal, lampshade, light bulb

Utopian Slumps, Collingwood, Victoria Australia

Photography: Dermot Oakley

This work was developed in response to the exposed, vaulted ceiling in the gallery. Using the space as a material trigger and counterpoint, I constructed an inverted apex based on a photograph taken from a horizontal perspective, in an A-frame holiday cabin in the south island of New Zealand. The work drew on the notion of parallel worlds, fusing a resemblance of disparate places, using the central lampshade form to echo the conical shape of a black hole. The inverted A-frame appeared to mimic the vaulted ceiling above, whilst translating a fleeting memory through a photograph into a static and tangible presence. Up-ending the idea of an economy of space, the work considered the capacity of ‘dead’ space, conflating senses of possibility and inertia.

2007

26 Surf Street Merricks Beach, Victoria Australia

Process based intervention in demolition site

http://merricks-beach-house-installation.blogspot.com.au

2006

Group exhibition at Conical Inc, Melbourne Australia
with Justine Henry, Susan Jacobs, Jason Maling, Torie Nimmervoll,
 Rebecca Umlauff. Curated by Conical inc.

Surface Dynamic (one/many)

2006

Snails, ants, timber, glass, stretched paper; sanded and drilled in response to the movements of ants and snails

2006

Collaborative drawing with Lisa Benson (NZ)

Victoria Park Gallery, Melbourne Australia

Concrete, jackhammer, rubber, tattoo gun, video projection, photography, intermittent actions documented

Photography: Jeremy Dillon and Susan Jacobs

2003

Carly Fischer and Susan Jacobs, curated by Angela Brophy

Conical Inc. Melbourne Australia

Mixed media installation

Photography: Greg Elms