Susan Freda: Rewiring the Sculpture
Eclectic and usually in the form of a dress, Susan Freda explores all types of media and how they can transform into beautiful works. Freda explores media like painting, metal, glass, crochet, knitting, and jewelry to create sculptures in the form of dresses, which are stationary and not wearable. Whimsical, delicate, and demure, these dresses showcase how different media can work together to make something stunning.
Freda’s interest in art started at the Rhode Island School of Design (RISD) where she worked in metalsmithing and sculptures. Although unwearable now, she did feature some of her dresses years ago during New York City’s Fashion Week. Freda now aims to underscore nature and environmental motifs in her work.
FRONTRUNNER is pleased to present Susan Freda.
How would you describe your work to a lay person?
I make sculpture and jewelry most often. I’m most known for my wire dresses that hang on the wall (not to be worn, though I have made some for the runway in NY Fashion week years ago!) I have also made things like sculptural shoes for Stuart Weitzman and Ferragamo. My work is often made from wire that I weave by hand, similar to crochet. I use glass and other things that are natural looking: shells, flowers, and handmade objects to accent the wire. I love including nature into my work as much as I can. I make ephemeral work that is very transparent and delicate looking but is actually really pretty durable.
What type of artwork (or other kinds of media) were you interested in when you started working as an artist?
I have always been into film, painting, glass, metal, and jewelry. I began as a student at RISD in metal-smithing and switched into sculpture because it allowed me the widest range of making. I could use many materials within the sculpture format such as glass, metal, ceramics. Etc…I explored glassblowing and casting early on and made jewelry and wearable sculpture as well.
When and where did your creative journey begin?
I began art making around age 10 and took drawing classes at the Rhode Island School of Design. Those classes in the Nature Lab opened my eyes of the opportunity to make art a life path. My grandparents owned a costume jewelry company in RI in the 80’s and there I was immersed in the shiny stones, metal, chain and the glittering detritus of that industry. I fell in love with the tiny detail and the metal. I was also drawing and painting and making clothing at home. I hand an endless energy of making with not too much focus on perfection. I just wanted to make, sort of like a machine! This passion took me to RISD where I began developing and honing my skills.
How have you changed since you have started?
Exploratory studio time is much more rare these days. I usually work on premeditated pieces, commissions, and exhibitions, so the time to just freely explore brand new ideas is a bit more fleeting. It’s sort of the carrot on the stick. When I was young that was all there was, exploration. I also have refined skills and methods and have worked out a way of working form myself that is productive and efficient. Things you learn over time and repetition.
What are your upcoming projects?
I’m currently designing two groups of 3 sculptures (6 total) for a spa in Silicon Valley. They will be made in a new weaving style and I’m excited to be learning a new way of weaving for this project. They are botanical abstract hollow forms that range from 3- 6 feet in length.
How does this body of work fit into the larger framework of your career?
This project is a divergence from my dress forms and is made in a similar weaving style but is knitted rather than crochet so the structure is related but more grid like than my typical work. It also incorporates botanical forms which is something I have been wanting to do for a long time. The work still has the long vertical format and large scale size but it is an abstracted form. It references nature rather than fashion. This is a direction I have been wanting to go in for some time.
Responses