SUSAN JACOBS 

SUSAN JACOBS: THE APPROACH 
 
Snake drawing allows for considerations of fear to be given material form.
 
Snake drawing seeks to explore expanded forms of drawing, investigating the potential between certain levels of control and unpredictability.  In holding a living snake and placing it onto a bed of sand, there is an expectation that the movement of the snake‚Äôs body will mark the surface of the sand. Mark-making is likely to depend on numerous factors, including temperature, animal temperament, texture, human and animal interaction, fear and patience.
 
The provision for this type of working process acknowledges the potential for failure and the implicit need for acceptance of potentially less than ideal outcomes. It embodies a type of heuristic learning and focuses on consciousness, aiming to instill a consideration of psychological and physical limitations. Snake drawing allows for considerations of fear to be given material form. It explores relationships between human instinct, motivation, and fear of forces that are beyond our control or things that are foreign to our understanding.

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Half spacific not half obvious (iron crow detail)

  Speculative Measure  
  Semblance of a previous form


SUSAN JACOBS
Half Specific Not Half Obvious (iron crow ball chain) (detail), 2011
steel crowbar, neodymium magnet, metal chain
Dimensions variable
photography: Jake Walker
Courtesy of the artist and Sarah Scout, Melbourne
SUSAN JACOBS
Speculative measure, 2010
installation detail, removed floorboards and architectural remnant
dimensions 700 x 150 x 60 cm
photography: Andrew Curtis
Courtesy of the artist and Sarah Scout, Melbourne
SUSAN JACOBS
Semblance of a preceding form, 2008
epoxy adhesive
Dimensions 50 x 40 x 120 cm
photography: Scott Miles
Courtesy of the artist and Sarah Scout, Melbourne

 

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