
Artist
Susan Purser Hope
I am a contemporary fused glass artist who creates unique, hand-crafted artworks. My work features kiln formed, painted, multi-layered forms that hold secrets and stories, creating explosions of potent dynamic colour and shapes. I work with a material that I am passionate about; it has the capacity to play with light, to offer me a range of limitless colours, to provide me with a range of techniques that stretch my imagination and technical skills. With glass I never stop learning. When a pandemic closes in and the world becomes a threatening place, it is a time to reflect on your life and what is truly important. It also means for me that I could no longer work as I had previously done – creating architectural work and community projects. After so much fear and grief, I realised that I wanted to create small, beautiful, considered pieces of glass artwork that appealed to the senses and brought a burst of joy to the observer, a visual escape after so much misery. Consequently, my new work looks back on simple pastimes. My aim was to enhance basic forms such as a stencil or the paper cut-out dolls of my childhood into small wonders of coloured and textured glass with different layers and the application of handmade glass decorative elements. In my moments of escape to the beach, I have also looked at simple and transitory patterns made by man which then disappear under the oncoming tide. I have looked at the shapes and rationalised them into patterned panels. For many art means painting and glass art is often unknown. My desire is to insinuate it into people’s consciousness by creating wall hung images that do not immediately look like or are presented like contemporary glasswork usually is. My intention is for people to find my work visually stimulating and then to appreciate the material so that my work is approachable for everyone.
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Exhibition Record
Artizan Women's Open 2024
2023 saw us curate our first Women's Open Exhibition, reflecting on some of the National Gallery's analysis of its collections which revealed that in a vast 2,300 paintings spanning the 13th to early 20th century, only 21 are by women. In doing so, we participated in the ongoing conversation around the “gender gap in art history” and the experience of women artists today. Our stories and context were perhaps not as shocking as those of the National Gallery or of the London commercial galleries where a mere 5 percent approach a semblance of gender parity, but nonetheless, what rang true was the value and importance of this exhibition becoming a regular part of our calendar. As such, we're excited to be revisiting the Artizan Women’s Open Exhibition for the second instalment of this new regular feature in our annual programme.
Art
Gallery

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