Susan Collins (b. 1964 London) is one of the UK’s leading artists working with digital media. Collins works across public, gallery and online spaces. Her recent works mainly employ transmission, networking and time as primary materials, often exploring the role of illusion or belief in their construction and interpretation. Works include In Conversation; Tate in Space (a BAFTA nominated Tate netart commission); Transporting Skies which transported sky (and other phenomena) live between Newlyn Art Gallery, Penzance in Cornwall and Site Gallery Sheffield in Yorkshire; Fenlandia and Glenlandia – live year long pixel by pixel internet transmissions from remote landscapes, and The Spectrascope, an ongoing live pixel by pixel transmission from a haunted house.

Recently completed commissions include a wildlife surveillance system for Sarah Wigglesworth Architects’s RIBA award winning Classroom of the Future; Underglow, a network of illuminated drains for the Corporation of London for Light Up Queen Street and Chaser, a lighting commission for GLOW ’07 Newcastle.
Recent group exhibitions at Oakville Galleries, Ontario, Canada; Vestsjællands Kunstmuseum, Sorø, Denmark; Montevideo/The Netherlands Media Art Institute, Amsterdam; ARC Projects, Sofia, Bulgaria; Harewood House, Leeds; One in the Other, London; Project Space Leeds; Osterwalder’s Art Office, Hamburg; SHIFT 2009, Basel; Edith-Ruß-Haus, Oldenberg and Kunstverein Springhornhof, Neuenkirchen, Germany.

In 2009 she exhibited Seascape , a solo show at the De La Warr Pavilion, Bexhill-on-Sea, commissioned by Film and Video Umbrella and the De La Warr Pavilion and recently completed Love Brid, a short film for Animate Projects.

Susan Collins is currently Slade Professor and Director of the Slade School of Fine Art, University College London where she established the Slade Centre for Electronic Media in Fine Art (SCEMFA) in 1995.

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Susan Collins is represented by Osterwalder’s Art Office, Hamburg

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this website was designed by Martin John Callanan in 2007, and refreshed by Josh Nathanson in 2014