Susanna Heron (born 1949) hon FRIBA is really a British site-specific artist recognised on her operate in stone relief. Her most widely known works include Stone Drawing for St John’s College, Oxford, finished in 2019, and Henslow’s Walk at Sainsbury Laboratory, College of Cambridge, champion from the Stirling Prize 2012.
Heron was created in Welwyn Garden City in 1949. Her family moved from London to Eagles Nest, Cornwall in 1955. She’s the more youthful daughter from the painter Patrick Heron and Delia Heron (nee Reiss) and sister of architect Katharine Heron. She was educated at Penzance Women Grammar School and studied at Falmouth School of Art (1967-68) and Central School of Art and style, London (1968-1971).
Heron’s first exhibition of sculpture was proven in the Whitechapel Gallery in 1985, displaying wall works together with small sculptures including Frieze (1983-84), a number of small gilded silver shapes having a circle in keeping, “Heron’s first fully mature statement”. It was adopted by exhibitions at Plymouth Arts Center (1986), The Showroom (1987), Camden Arts Center (1989), and Newlyn Gallery (1992)
A defining number of works at the moment titled Shima incorporated small bronze sculptures, cibachrome photographs, as well as an artist’s book Shima: Island and Garden, each symbolized within the Arts Council Collection. The whole shebang left Heron’s participation within the regeneration from the garden at Eagles Nest later carrying out a severe frost and “… concern things unseen, hidden, subterranean, internal, subconscious involving causes of energy, generators, messengers, nerves and roots”.
In 2003 Heron installed wall sketches on her exhibition Elements in the Mead Gallery, Warwick Arts Center, which originated from 36 colored sketches in black, designed for a commission in Tokyo, japan in 2001. Exactly the same sketches were recreated as small woodcuts in Japan, the Palm Prints, a part of an appearance of labor to become transformed through location, scale and substance. “Like mathematical systems, they’re elements, essences, reproducible at any size … but the expertise of the whole shebang is particular, rooted inside a particular place and time.”
In 1993 Heron was awarded her first site specific commission Slate Frieze, 23 rectangular slabs of engraved slate more than a 21m length wall, installed in the Council from the Eu, The city in 1995.
A number of much talked about commissions adopted including Waterwindow, area of the Phoenix Initiative (a Millennium Urban Regeneration Plan), a waterfall and window sited in the alternation in levels in Priory Place, Coventry. The splash in the waterfall is continuously recorded within the build-from eco-friendly patina on copper panels, evolving and altering with time to create a water-sensitive drawing. Heron is made an honorary Fellow from the Royal Institute of British Architects in 1999 on her contributions to architecture.
In ’09 Heron was commissioned to create a new work titled Henslow’s Walk for that Sainsbury Laboratory, College of Cambridge with Stanton Johnson, champion from the Stirling Prize this year. The job comprises four double images created in shallow relief on the 22m length interior wall inspired by John Stevens Henslow and the collations of native plants. “Employing her preferred medium of sketches in shallow relief, Heron has produced a backdrop towards the Laboratory’s lecture theatre intricately created in to the yellow French limestone, which forms area of the fabric from the building.”
Heron collaborated with Bennetts Associates between 2012-15 to create Travertine Frieze, a shallow carving in negative relief of floor to ceiling attracted lines. It forms along side it wall towards the primary entrance of 40 Chancery Lane decline in travertine marble. (Champion of RIBA London Award 2017 and RIBA National Award 2017).
Heron continues her curiosity about massive stone relief having a commission for St John’s College, Oxford, with Wright & Wright Architects. Stone Drawing, cut from Clipsham stone, occupies both exterior and internal faces towards the wall of new research center at St John’s College Library next to the baroque Canterbury Quad. At 6 metres high and 20.4 metres lengthy, it forms free airline side from the new building. The job is within part produced from a number of small colored red sketches in oil paint incorporating abstract profiles and sequences.
“An adverse relief, as an engraving, is created from the flat working surface. Each line becomes an advantage, or even more precisely two or perhaps three edges, whether or not this turns into a step or perhaps a groove. In this manner it requires maps and plans, terrain viewed previously mentioned where visibility is frequently dependent on direction of sunshine and standpoint. It’s susceptible to reversal and plays methods together with your eyes – something which projects may appear to recede once the light changes.”
Stone Drawing at St John’s College Oxford (2014-2019)
Travertine Frieze at Chancery Lane London (2012-2014)
Henslow’s Walk-in Sainsbury Laboratory College of Cambridge, College of Cambridge Botanic Garden (2008-2011)
Roche for that facade of the home of Fraser in Cabot Circus, Bristol (2005-2008)
Still Reason for the causes of Liverpool Metropolitan Cathedral, Liverpool (2004-2007)
Aquaduct within the Brunswick Center, Bloomsbury London (2003-2006)
Elements, Warwick Arts Center, Coventry (2002)
36 Elements within the Marunouchi Building, Tokyo, japan (2001-2002)
Side Street at City Inn, Westminster London (2001-2003)
Waterwindow in Priory Place Coventry (1998-2003)
Sunken Courtyard in Hackney College London (1995-1997)
Island at British Embassy Dublin (1994-1995)
Slate Frieze within the Council from the Eu, The city (1993-1995)
Shima 1988 purchased through the Arts Council Collection
Between 1970 and 1983 Heron received worldwide recognition like a major presence in British New Jewellery. Heron was awarded a United kingdom/US Bicentennial Arts Fellowship (British Council/N.E.A.) in 1977 to visit and work in the united states for just one year. After this period, a number of works emerged titled The Wearables, composed of flat dvds associated with your body. The Wearables were exhibited on your wall alongside photographs, produced with David Ward, from the pieces being worn. Heron and Ward co-curated an accumulation of radical, wearable objects by different artists exhibited because the Jewellery Project in the Crafts Council in 1983.
Her transition into sculpture adopted Heron “… was thinking about jewellery as a means of creating work which was accessible and unpretentious, something for use in everyday existence … This belief in her own practice as part of existence and also the concern for the use of art to various situations, past the gallery and also the art world, has endured within the newer public works.”