The Work
My sculpture connects the world of the subconscious with the world of our everyday perceptions. Through abstract and nonrepresentational forms, I pursue the connection of these two worlds – and strive to make this connection visible. My sculpture creates mystery and ambiguity through biomorphic forms which straddle the boundaries between the human, the animal, and the imagined.

The Swiss/German artist Paul Klee (1879-1940) stated this concept simply: “Art does not reproduce the visible; rather, it makes visible.”

This concept based in Surrealist thought has helped me understand my work more completely. Rather than from the realities of the conscious world, my sculpture takes inspiration from the imagined, the unseen – a subconscious archive of memory, the known, and the unknown – which then comes to life in my work.

Based on this concept, and through a resolution of form, surface, volume, and color, my intent is to communicate both delight and unease at once.

The Process
Creating my ceramic sculpture is an exploration and combination of many techniques. Each form is handbuilt from coarse white earthenware clay, using slabs, molds, and coils. I keep active sketchbooks and each form is initially inspired by a rough sketch – but as I construct a piece, the clay itself may lead me along an unexpected path. For me, that is the joy – and the challenge – of handbuilding with clay. I allow the material itself to be an active participant in my process.

After the form is complete, the drying process takes at least four weeks – until the clay is bone dry and ready for the first firing in an electric kiln. To the bisqued form I apply the first layer of underglazes and glazes. I choose the glazes for my work after researching and testing low-fire glaze recipes. I look for glossy or matte glazes which produce unique surfaces, such as craters, beads, and crackle effects. I also select colors to enhance my personal palette of glazes. After the first glaze firing, I evaluate the form, color, and surface of the sculpture. I continue to add layers of glaze and color and refire the work multiple times. This process results in depth of color and contrasting surface effects which combine to unify the entire sculpture.

See more of Susan's work online at www.susanfeigenbaum.com

Lunar Demon

Probe

Two Out of Three

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