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I obsess about how fine a line I can do; ultimately, I love seeing all the little black lines that I’ve painted come together to create an image.’ Despite the striking maturity of her work, Susan has been working in ceramic art for less than a decade.For many years she worked as an art director/designer in advertising.Gisela Torres Photos: Gisela Torres Hats: Sahar Freemantle Makeup Artist: Sara Sorrenti Hair: Jack Merrick Thirlway Model: Danielle Ifra Yuval Atzili was my student. I have known him as a teacher knows a beloved student.

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That sentence he said, reminded me of Jacob Biton’s poetry who wrote about himself and his brother Dogan facing their grandma’s death, the big mother.

In his meticulous photograph there is something primary, physical like a bone cracking out of skin. » Yaara Shehori The photographs & text were originally published in "The Hottest Place In Hell" magazine, May 7th, 2015 Victorian ornithologists and botanists would have heartily commended Susan Hipgrave’s remarkable series of hand-painted plates.

An almost Christian image, I thought, almost poetic, Jesus in the hands of Mariah.

Mariah holding baby Jesus and already visioning his future death, alongside the bird as some kind of prosthesis accessory, exposing the unsaid – here, someone died in the hands of a very living someone.

However, it soon becomes clear that all is not quite as it seems.

Susan departs from a straightforward replication of flora and fauna by concocting strange hybrids or by exaggerating features, such as piercing eyes to convey the extreme visual acuity of an eagle.

For spectators, an interactive experience awaits: birds, caught in the moment, watch us, ready to strike or to fly away; clusters of twisted vines and treacherous spikes draw us inside.

‘As my work with natural subjects becomes more detailed, so my subjects become more assertive,’ the artist states.

‘When I’m contemplating a new piece, I start by going through my collection of natural history books until I find something that “speaks” to me.

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