Today am looking at Artist "Susan Collis" work, fascinating!!

I was introduced to this particular art work after witnessing the creative design at the Sheffield Millenium Galleries 'Out of the Ordinary' exhibition, during August 2009. This particular artwork is supported by the Art Fund Commission. Constructed from a dustsheet and various types of embroidery mediums, the dimensions of the design piece measure approximately 240 x 120cms. The decorative design is now currently located at the Seventeen Gallery in London, as the primary vendors they have acquired the piece since 2009.

The textiles-based artwork is created from a dropcloth dustsheet, where marks and drips or paint splatters, spread across the conceptual design piece, are actually produced from various colours of sewing thread and attention to the detailed form. This makes the design appear as if the piece has deteriorated within its condition, due to continous usage, and consequently transformed into an innovative, yet unusual design.

Referring to the formal qualities of the artwork, it is evident that the viewer's eye does not subconciously detect the piece as artwork. In this particular design when focusing upon the artwork's focal point, immediate attention is lead to the overview of the plain dustsheet. Therefore, there is ambuiguity by the viewer of the exhibition as to where the actual art is and why no designs are displayed. Only upon closer inspection does the focus to the design and its significance become more evident; this includes the incorporated detail of the handcrafted embroidery techniques and laborious craft processes.

The textiles installation piece is not portrayed neccessarily within a realistic manner, yet it uses the concept of everyday sources in an unusual context, to produce unconventional art pieces. Both light and dark tones are highlighted upon the design using shadow embroidery effects, varied cotton colours to supplement visual design presentation. The use of light and dark colour hues creates a psychological effect, as it is represented as a realistic, contemporary stained dust sheet, unlike its actual presented form.

The effect of texture is prominent within the 'Better Days III',  fabric installation piece. Embroidered line detail adds a strong textural quality to the artwork. The viewer receives the impression of much depth within the piece; it appears that the textured surface is actually a stain rather than a repetitive stitch embroidery style.

Texture is widespread across the dimensions of the art piece, as the decorative dustsheet design features randomly embroidered areas, for extra effect and design dimension. The texture of the thickly embroidered areas contrast with the dustcloth cotton piece, as its texture is much rougher, harsher and more prominent to the viewer.

Susan Collis has cleverly concentrated upon the placement of each of the positioned embroidered areas on the design piece. The proportion and varying sized- satin effect appears realistic to the detailing, being of a relative size. Shapes, linear qualities and square proportions are incorporated within the art piece. The dustsheet is presented to the exhibition viewer in a creased, unkempt manner with different sized, paint splattered areas; alike the representation of what the object would be seen like everyday society.

Hidden within the artwork are signs and symbols. This is representative, as you have to look very closely at the source in order to identity its meticulous, hand stitched detail. Susan specifically used traditional craft processes, to incorporate this design style within the representation of ordinary design objects. The 'Better Days', design piece features junxtaposition components and foremost questions how we symbolise both art and craft with contemporary society, alongside our individual perception of labour processes. A significant sign incorporated within Susan Collis's work includes how original, handcrafted objects are lost within society by the introduction of mass produced products and therefore her designs refer to the hidden labour of production.

The central mood of this particular artwork signifies an air of mystery and surprise. Upon first inspection, the piece appears dark, lost ephemeral and out of place within its gallery context, however there is the hint of hidden expectation to be awaited by the viewer.

When focusing upon the deeper meaning of this particular textiles installation piece, the artwork glorifies the memories of the accidental and stimulates the intellect with its spectacular craft detail. The design opposes traditional ideas and visualisations of perception, particular in conjunction with the reflection of society's and their associations of culture. Also; the art piece has created to specifically meet the needs of the artist. Susan Collis's motivation to producing the design was to signify 'hidden labour', within her unique art pieces. By constructing a particular situation or circumstance and presenting this to the viewer, in order to share the experience, Susan aimed to create something bold visually presentable and considerate through ordinary objects.

In respect to the primary influence of Susan's Collis's artwork, it is evident that the contemporary artist focuses upon other artists who refer to the process of dematerialising their practice, such as Daniel Spoem and Gordon Matta Clark. Throughout the production of this specific design piece, Susan questioned her identity as a sculptural craft artist, alike the work of  Jackson Pollock and her iconic paint splashed designs. Susan was motivated and inspired by Naomi Kline's 'No Logo'. This included a focus upon objects with "no history of their making, yet have a kind of aura, as if they have just appeared from heaven".

The function of 'Better Days', was for Susan Collis to explore and investigate the message of perception, primarily upon a personal scale within her artistic work. The design piece was formed to celebrate discipline and humility of craft in an effective manner, whilst the concept-based piece also being produced for decorative purposes; to create something suprising and visually intriguing for the viewer. Other multiple meanings of the artwork include that it was created to signify the message of unconventionality in viewpoints, drawing together two central opposing terms within the piece, to establish the importance of deviating traditional perspectives overall.

The World

The art piece entitled 'Better Days' is not representative of Susan's personal world necessarily, yet the discipline of handcrafted design and mass production in today's society. Susan Collis focuses upon labour processes as part of society's infrastructure within her artwork; this estalishes the construction and the development of art production within society.

From the introduction of this particular textiles inspired installation, it is evident that this artwork has enabled individuals to learn that there are a broad variety of perceptions of the importance of everyday objects within society, predominately that they are visualised for a specific purpose, use and manner. People within society have somewhat restrictive perceptions of objects, so Susan wanted to contradict this accordingly within her designs.

Susan's artwork represents a focus upon perceptions within contemporary culture, yet not of a particular world event or within a specific time scale. Her work brings traditional, laboured skills and craft into the modern world as part of her practice. She is interested in the significance and philosophical view of the territory of craft and the making. Susan also refers to how a singly, crafted object places itself in a world which predominately focuses upon the age of mass production.

'Better Days III', as a textiles piece also is representative to focusing upon the boundaries between arts and crafts within the world. Susan draws attention to detail from referring to various aspects of the 'ordinary' within the world, such as everyday materials and equipment, or objects to form an expressive, artistic practice based upon the concept.

Overall, Susan Collis establishes her identity within the art, craft and design world by elevating the conventional to create striking effects. She is inspired by a combination of sources. Her husband was an experimental filmmaker, so he initially influenced Susan's passion to make and focus upon her desire to find a hidden craft within art forms. Further artist inspiration includes; the work of individuals within art who have focused upon dematerialising processes within their designs, such as Daniel Spoem and Gordon Matta Clark