Artist Susan Sentler

Project Highlights 2020


Susan Sentler’s dance and multi-media installations have been exhibited from London’s Hayward Gallery to various museums and performance spaces in Hong Kong and Singapore. At LASALLE College of the Arts, where Susan was faculty of dance (2015-2020), she collaborated across disciplines, using human origami to engage students and faculty. Currently an independent artist, Susan is actively engaged in creative process with artists from around the globe.


DECK Gallery – Singapore


Just when  you might think galleries are closed during COVID 19, think again! The Deck Gallery in Singapore recently hosted Susan in a multi-media installation combining improvised dance, photography, video and live computer coding.

MMCC – Mediated Movement/Choreographic Collaboration MMCC

Working online with digital artist Dr. Jamie Forth (Goldsmith’s College, London) and dance artist Valerie Lim Susan transformed the white walls of the gallery into an event of moving media that could be viewed from multiple perspectives. Conversational ‘scores’ and ‘drawings’ (left) between Sentler and Forth, were posted on the walls and took on somatic qualities – a living cuneifom. All materials became members in motion in virtual and real velocities.

Sentler provided Forth with photos from a series of 250 images she had shot of the TATE Modern Turbine Hall floor after performing in These Associations of Tino Sehgal in 2012. She called it 3 months after (being 3 months after working within the site). Forth used code/algorithms to detect the medium grey hue of colour within each photo…finding the shortest and longest pathways. These were then extracted from the photos. Susan and dancer Valerie then chose one image to work with as an improvisational movement score.
The contour line the team chose to work with was:   Here was process-made-visible in an aesthetic where the digital and the human carried equal weight.     A short clip of dancer Valerie Lim improvising in the gallery during the week-long show.





This fall, Susan mounted  ENFOLD a multi-media installation performed at the ArtScience Museum in Singapore.  Taking the concept of ‘folding’ as a starting point and expanding it through the technique of origami, the performances is rooted with the visual, sensorial and kinetic embodiment of the designs, inspired by Minimalism.

Susan elaborates on the aesthetics of Human Origami in an interview for Symbolism: An International Annual of Critical Aesthetics (out 2019 – stay tuned!)


signs of a nest

The idea for the work signs of a nest began with artist Susan Sentler responding, noticing within her new environment, Singapore. Having moved numerous times in her life, Susan experiences a sense of ‘home’ through images that trigger an embodied anchoring, allowing her to be open to the new, but space to reconnect with her carried past.

She was intrigued by the beautiful HDBs (housing development board, public housing) throughout Singapore; especially those that were to be torn down, demolished to build new…a constant desire of Singapore to eliminate the old, the dilapidated, the worn. Susan was drawn to the incidental and unnoticed beauty of small details, signs in and around the apartments; and how these would disappear, only to be remembered in the virtual image.

Susan also was intrigued in how people would find rest throughout varied areas within these environments. She wanted to hone in on the way in which the body could nest, find a place of rest, of home…even momentarily.

She exhibited signs of a nest first within Abeerance#8 at Southwark Platform in London/UK, June 2016. The performance here was an hour in length, the performer Stella Papi.

The work was then performed for a longer duration of 4 hours within the monthly opening event at the venue Substation in Singapore, December 2016.
The title of the series being Performing Home.

Exploring triggers of dwellings; unnoticed fragments.
Signs of a nesting space.

‘Space’ being a place of belonging. The work reflecting on how these ‘signs’ are becoming lost in their material sense, only to be held in that of the virtual, but resonate in the landscape of our bodily memory. The ‘nesting’ seen as an abstracted, repeated ritual, allowing the body to mark its territory. Referring to the French historian Michelet, the form of the nest is commanded by the inside. Bachelard (1958,101). The embodied imprint becoming one with the material of the place.

The exhibition is composed of film, photographic stills and live performance.

Bachelard, G. 1958. The poetics of space. Beacon Press, Boston.

signs of a nest
concept, camera, editing: Susan Sentler
score: from Hajsch ‘1992’ and sound composition by Zeek Perakos
performer: Valerie Lim