Artist Feature ://
Posted January 2018
Susi Disorder’s practice recreates human manufactured imprints that merge and decay in nature. Disorder investigates the relationship between mass media systems and identity. Ideas of simulation and physical labour are embedded in her practice as she combines digital and analogue processes. The artist works with print, time-based media and installation. She is inspired by avant-garde music and the physical experience of ruins and sublime landscapes. Disorder’s art observes the often unnoticed and neglected imprints of life such as traces, debris and noise.
Q. After being taught classical techniques in Madrid how did you use this training to influence your current practice?
The theoretical context of printmaking is very important in my practice. No matter which medium I am working with, I am still interested in exploring notions of originality, mass reproduction and the material print. Also, I have a very strong sense of aesthetics and I tend to visualise quite accurately beforehand how I would like my work to look. I use drawing to define my ideas.
‘Ethereal Traces’ 2016
Q. After moving to the UK from Spain, did the culture change have an impact on your work?
I think the main change was how I was taught art, I felt so much freer to explore ideas and techniques. Also, critical theory became more important; before my creativity worked in a more unconscious way.
Q. I know you have been involved in several of the previous Float. showcases, do you feel taking part in these pop-up situations helped influence or benefit your practice? If so, what impact did it have?
Definitely, it was inspiring to see what other artists were achieving by using new technologies. Besides, after you leave art school, you rarely get the chance to talk about your work in progress. These events are very valuable opportunities for people to exchange ideas and collaborate.
Q. Your work looks at decay and erosion, specifically in geographical places. Is there a particular landmark or space, which has had an influence on your work?
There are a few. Lately, I have been working with the pillboxes of Walton-on-the-Naze, these WW2 constructions have fallen off the cliffs, and they are sinking in the sand and covered in moss. The scenery is very apocalyptic. Also, I feel very fascinated by any form of Brutalist architecture; there is something edgy and poetic in those masses of concrete.
‘In Progress’, 2017
Q. What was one of the largest hurdles you have faced during your creative career and how did you overcome it?
Having a day job while making artwork and getting involved in exhibitions. It is quite difficult to stay focused on your artwork, but when you have something that you see developing it is like an addiction and you can’t stop working on it. It is very rewarding. At the moment, I am a PhD student and my first challenge is to learn creative coding. However, I am very lucky that I have a scholarship and I can dedicate most of my time to research.
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