"Each of Susan Hiller’s works is based on specific cultural artifacts from our society, which she uses as basic materials. Many of her works explore the liminality of certain phenomena including the practice of automatic writing (Sisters of Menon, 1972/79; Homage to Gertrude Stein, 2010), near death experiences (Channels, 2013), and collective experiences of unconscious, subconscious and paranormal activity (Dream Mapping, 1974; Belshazzar’s Feast, 1983-4; Dream Screens, 1996;Psi Girls, 1999; Witness, 2000)."

  • language, gender, desire, death are the content of her art
  • paranormal activity, alien abductions, séances, the healing power of holy water, levitation, auras
  • may show hidden or suppressed cultural potentials
  • makes work out of objects she has collected for numerous years
  • work is critical and aesthetic
  • influenced by permutational minimalism
  • works in a conceptualist third stream
  • work is informed by her empathy with the 'Other' and by her insight into the structure of language as a basis of social structures
  • a functioning visionary collaborating with the culture, confronting social control with the mystery of everyday things and thoughts
  • sets out to erode the supposed boundaries between dream life and waking life
  • implies fulfillment of popular desires for change that are currently channelled off into science fiction, horror movies or TV sitcoms, where fantasies are imposed from outside and above
  • desires to know the unknowable roots of language
  • pressures viewers to into the difficulties of discovering new structures in the familiar
  • explores cultural signs and codes
  • often includes found materials in her work
  • no matter the material, they are never treated as neutral or blank, but as artefact's packed with cultural assumptions
  • work is beautiful but has an unsettling quality
  • a number of her installations use an audio component

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