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Susan Campbell  ART WORK







Having worked as a journalist in the print media for many years, I returned to college in 2010 to study for a HND Fine Art. This was the start of a long stint in education as the world of art, with all its potential, opened up. Initially interested in painting and drawing, I relished the chance to also study art history and work across mediums such as ceramics, photography and print, experimenting with materials and processes.


I went on to complete an MPhil Irish Art History and PhD Art History. During these studies, I homed in on modern and contemporary art while referencing other times, places and disciplines. My current work as an art writer and art historian, together with ongoing visual enquiry, are shaped by these projects and by creative interests identified during the HND. It probes dynamics and structures underlying reality, and relationships within and between things. 

In January 2023, I initiated an art-making + research enquiry titled 'Strange attractor', which, over time, will generate a series of blog posts and culminate in an exhibition. It includes a project concerned with archaic Greek sculpture, supported by an Agility Award from the Arts Council (an Chomhairle Ealaíon). I also host art history sessions in the community and write reviews and texts for visual art titles (see 'Published writing), catalogues and this website. 




Art blog

Regular posts, including exhibition write-ups, dialogue with artists, art-craft, art-science and other intersections, plus ongoing research.

Projects and updates.

LATEST POST: Agility Award

Thoughts about art as singular and connected.

LATEST POST: Strange attractor

A focus on art-making.

LATEST POST: First post coming soon.


Colin Davidson 6.JPG

Published writing 

Commissioned articles, exhibition reviews and catalogue notes

Visual Artists' News Sheet

Elaine Grainger, 'Holding on Lightly', Diaa Lagan and Basil Al-Rawi, 'Shahid شَـاهِد', exhibition reviews: Jan/Feb 2024

Katherine Sankey, 'an atom bomb in each morsel of life’, exhibition review:
Sep/Oct 2023

Philip Moss, 'Haiku Paintings and Other Works', exhibition review: (p23) May/Jun 2023

Fiona Kelly, 'A Demarcation of Time', exhibition review: Mar/Apr 2023

Patrick MacAllister, 'Peering Out', exhibition review: 
Sep/Oct 2022

David Eager Maher, 'Pinked', exhibition review:
Mar/Apr 2022


Irish Arts Review

Kiera O'Toole, 'Public Wonders', artist interview, Summer 2021
Taffina Flood, 'Sensory Effects', studio visit, Winter 2019-20

Paul Doran, 'State of Flux', exhibition review, Summer 2019
David Quinn, 'Seamless', exhibition review, Spring 2018

Margaret Egan, 'From Glimpse to Panorama', exhibition review, Winter 2017

Gabhann Dunne, 'Spellbound', pre-exhibition interview, Autumn 2017

Shane Berkery, 'Bitter Candy' pre-exhibition interview, Summer 2017

Catalogue notes and articles

Colin Davidson, 'Window Self-Portraits', exhibition preview/interview,
Oct 2023


Colin Davidson in his studio. Photo: Susan Campbell, courtesy of the artist and Sotheby's.



PhD (2019)


'All There in the Weave: Duality & Unity in the Art of Richard Tuttle'

This investigation into the art of American Postminimalist Richard Tuttle (1941- ) responds to his 2014-15 shows at the Tate Modern Turbine Hall and Whitechapel Gallery. These events spotlighted the prevalence of textiles and related materials in his work, suggesting that they hold important meanings for him. In identifying and addressing Tuttle's unstinting focus on polarity and unity, the thesis homes in on artworks from throughout his long career to probe their references to structural relations intrinsic to weaving.


Acknowledging the impact on Tuttle's art of his life-long autodidactic enquiry and self-declared mysticism, the project also explores his philosophical and spiritual beliefs. His work is theorised as a weave-constructing response to the ruptures he perceives in a polarised experience of reality. An in-depth analysis of the ancient, ubiquitous and cutting-edge domain of weaving and textiles uncovers mechanisms at play in his unity-seeking exercise, which is founded on a deeply held belief in the efficacy of art.

This project expanded a masters-level exploration of dualistic qualities visible in art, providing an opportunity to develop a more refined analytical framework. Its themes continue to inform my work, which also includes visual enquiry.


MPhil (2013)

From the ‘Painterly’ to Multiplicity: Towards an ‘Aesthetic of Disorder’ as Evidenced in
the Work of Mark Francis'

This project draws on philosophy, science, cultural theory and broader stylistic shifts in art history to explore oppositional qualities in the paintings and prints of Irish-born artist Mark Francis (1962-).  

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