Susan Derges, (English, born 1955) is an internationally recognised photographic artist, specialising in camera-less photographic processes, most often working with natural landscapes. She has exhibited extensively in Europe, America and Japan and has works in many museum collections including the Metropolitan Museum, New York and the Victoria & Albert Museum, London.
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Derges was born in London in 1955. She studied painting at the Chelsea College of Art and Design from 1973–1976 and at the Slade School of Art from 1977-1979. She then turned to photography, exploring in particular early photographic techniques of cameraless photography - exposing images directly onto photographic paper - techniques she has continued to refine and develop to this day. From 1981 to 1985 she lived and worked in Japan, receiving a Rotary Foundation Award (1981), JVC Award (1984) and carrying out postgraduate research at Tsukuba University. From 1986 to 1991 Derges lived in London, moving to Dartmoor, Devon in 1992. In 1993 she received a South West Arts Award and was appointed Lecturer in Media Arts at the University of Plymouth, Exeter. From 1997 to 1999 she was an external examiner for the BA in Fine Art: Photography at Middlesex University.
Having trained in painting Susan Derges expressed an early interest in abstraction because "it offered the promise of being able to speak of the invisible rather than to record the visible". She turned to cameraless photography after experiencing frustration at the way "the camera always separates the subject from the viewer". Much of her subsequent work has dealt with this relationship - of separation and connectedness with the natural world. Her images are often beautiful, conjuring metaphysical and metaphorical layers of meaning. Her methods have been consistently experimental, a constant search for new cameraless methods of recording imagery, including the photogram, while directly connecting with the world she observes. Derges first experimented with cameraless photography while living in Japan. Her 1985 work Chladni Figures was produced by sprinkling carborundum powder directly onto photographic emulsion where it was exposed to sound waves at different frequencies (see Ernst Chladni), creating ghostly black and white images of natural order and chaos. For her 1991 series The Observer and the Observed Derges explored the interdependence of viewer and object - creating images appearing as droplets of water containing faces, while simultaneously showing her own face with small droplets suspended in her view. On March 24, 2011, Swann Galleries auctioned Derges's The Observer and the Observed #6, silver print, 1992 for $28,800—more than any previous work by the artist at auction. For the 1997 River Taw series she worked at night, placing photographic paper on the river bed and allowing the images to be exposed through ambient light, aided by the use of a flash gun. Her technique involved a very direct and unmediated physical relationship with the landscape, while her Under The Moon series involved working with photographs of the moon and combining these with water and branch patterns exposed to sound vibrations in the darkroom. Her images, though based upon the capturing of external natural realities, take on a metaphorical dimension that echo the inner life of the unconscious and imaginative.
Major publications of her work include Woman Thinking River, published in 1998, Liquid Form with an essay by Professor Martin kemp, published 1n 1999 and Kingswood published in 2002 by photoworks.
Susan Derges exhibits and is represented by Purdy Hicks Gallery (London), Ingleby Gallery (Scotland), Fraenkel Gallery (San Francisco, CA, USA), Paul Kasmin Gallery (New York, NY, USA) and Galerie Nichido (Tokyo, Japan)