Susan Jacobs works across drawing, sculpture, recorded action, installation as well as ephemeral site-responsive intervention. She utilises material and site—and particularly the latent potentials of both—as a means to express conceptual concerns in her complex, multi-layered art practice. Jacobs is not necessarily concerned with conclusions, and her work might be seen as a series of exercises in problem-solving and resourcefulness that inevitably develop their own sense of logic; the sum of her work adding up to a common line of inquiry rather than a signature aesthetic. Often employing readily available prosaic materials, she investigates broad ideas like time, history, physics, psychology and philosophy.
A key feature of her practice is working with random gestures and mark-making to draw metaphoric associations from actions and interactions that are often out of her control, and her interest is in the act of enquiry rather than in pre-determined outcomes. Recently, Jacobs' projects have involved reconstituting outmoded materials such as milk plastics and Hemacite (a material developed in the late nineteenth century and made from the blood of slaughtered animals and wood flour) to consider of the philosophical, economic and ethical implications around manufacturing.
Susan Jacobs’ exhibitions of recent sculpture showed her to be an artist of ambition and technical dexterity, with a keen eye for drawing through space and creating material problems that deftly encapsulate the competing forces of entropy and inertia.
Max Delany, Frieze magazine, January 2009.