Su Blackwell 'Book Sculptures'

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Paper has been used for communication since its invention; either between humans or in an attempt to communicate with the spirit world,” Su says. “I employ this delicate, accessible medium and use irreversible, destructive processes to reflect on the precariousness of the world we inhabit and the fragility of our life, dreams and ambitions.” Unless otherwise agreed, no delay, act or omission by a party in exercising any right or remedy will be deemed a waiver of that, or any other, right or remedy. You must have an amazing imagination, great vision and incredible concentration to create such magical works. Are these traits that come naturally or are they skills that you’ve worked to develop over the years? I am moving house next year, moving out of London to be by the sea, and so I’m not taking on any big projects for 2016. Rather, I’m working on commissions for book sculptures, am exploring the possibility of an animation project, and will be exhibiting some dress installations in Museum Sinclair near Hamburg in Autumn 2016, which I’m really excited about. For the people and experience, it was probably a project I worked on in Jakarta, Indonesia, where I art-directed a music video. It was a huge project with a low budget, but it is such a different culture out there, they made it seem like anything was possible. There were no health and safety issues at all, you just came up with a crazy idea and they made it a reality. After we finished filming, everyone (cast and crew) went around hugging and thanking each other. It was really beautiful.

If I’m making a sculptural object, I sometimes use wire to make a model to wrap the paper around. When I think the sculpture is nearly complete, I add the lights, and a bespoke box is made to house the sculpture. The whole process from start to finish usually takes between six and eight weeks.

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I liked making my own entertainment and was happiest playing on my own in a small bit of woodland at the end of the cul de sac where I grew up in Sheffield. I built dens, climbed trees and imagined different Worlds. I dreamt of being an art student, but I didn’t dream of being a working artist, that just wasn’t in my vocabulary as a child. I remember going to the careers advisor at school, and saying I wanted to do something creative, and I think they suggested teaching. I didn’t have a formal art training until I was 20, and before that I used to paint and draw and keep scrapbooks from cut out pictures in magazines that captured my attention. Right to access – the right to request (i) copies of the information we hold about you at any time, or (ii) that we modify, update or delete such information. If we provide you with access to the information we hold about you, we will not charge you for this, unless your request is “manifestly unfounded or excessive.” Where we are legally permitted to do so, we may refuse your request. If we refuse your request, we will tell you the reasons why. Right to object – the right to object to our use of your Data including where we use it for our legitimate interests. Where do you find the books you use for your art and do they always inform the narratives you create?

It is important for me to be able to switch off from work occasionally though, and my 3-year-old daughter sees to that. I make sure I take at least one day off a week to spend with her. She is great fun. We often go to Kew Gardens or Syon Park for a walk and for lunch in the café, and in summer I take her camping or we go to a music festival. Each working day can be quite different from the last, and each day brings with it new challenges. I never know what the next project that comes through into my inbox is going to be, and that keeps it exciting. About 70% of the projects proposed to me, don’t make it into reality. You get quite good at being able to tell which ones will make it, but there are some surprises. Work has taken me to places I wouldn’t normally have travelled to. Recently I was invited to work on a big project in Kuwait City. I’ve never had an ultimate dream. I prefer to let things happen naturally, and like a leaf blowing in the wind, see where life takes you. I feel that that when you’re open to new possibilities, rather than being set on making your ultimate dream a reality, life can throw you some wonderful surprises.

I have honed these skills over the years, but I think they were skills that were always there. I have always been very imaginative. As a child, I was given a lot of freedom, freedom to be by myself and make up stories and games. I think that’s important for children. I take my inspiration from fairytales and folklore and use these well-known tales as conduits for modern-day experiences. I often search for stories that relate to my life, whether that be Little Red Riding Hood meeting the big bad wolf or a princess given an impossible task of spinning straw (or in my case ‘words’) into gold, as in the Brother Grimm’s story “Rumplestiltskin. “The themes I explore have a universal appeal, and overall, there is a sense of hope pervading the works. Tell us about your childhood; what did you do for fun and what did you want to be when you were growing up?