Susan Brind works four days a week in the department and acts as co-ordinator for M Litt students; co-ordinates the fourth year and is currently Director of Studies for a PhD student researching into immersive installation art which uses sound. She was also previously the Academic Co-ordinator of the School of Fine Art’s Friday Events lecture programme, and taught into the MFA, MRes and MPhil postgraduate programmes.
Susan previously lectured on a regular basis at a number of colleges in England and Scotland (including Central St Martin's College of Art & Design and Grays School of Art, Aberdeen) and has also been a visiting lecturer in Canada and Germany. She studied at the University of Reading and the Slade School of Art.
Her own work has been exhibited widely in the UK and Europe and she has received a number of major awards and commissions. Using photography, video, sound and text her work has mainly been concerned with the body as a site of understanding, subject to external influences and internal experiences. She frequently makes works specific to particular sites or architecture. Most notably: bad air [mal-aria] (a permanent commission for London School of Hygiene & Tropical Medicine, 2001), where physical 'symptoms' are described through the juxtaposition of architectural space and language; and a collaborative work Curious Arts – No. 3 (with Jim Harold) a text installation for the Library of Hospitalfield House, Arbroath (2010).
Susan is a member of the Board of Directors of THE COMMON GUILD and prior to that was on the Board of The Modern Institute, Glasgow. In addition to her practice as an artist, she has also undertaken a number of curatorial projects, including The Reading Room (for Book Works, London in 1994) and Artists Research Fellowships (for Visual Art Projects, Glasgow in 1999). The publication resulting from the latter project, Curious: Artists' Research within Expert Culture, (Visual Art Projects, 1999), brings together her own writing about the research process with the work of commissioned artists and writers from a range of disciplines. The same is true of a more recent publication The State of the Real: Aesthetics in the Digital Age (Tauris, 2007) co-authored with Damian Sutton and Ray McKenzie. Both her practice and these projects reflect her interest in the presentation of art both out with and within conventional gallery settings.