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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.

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A young man with burning eyes (that’s the way it is, sometimes similes flares in your head, later it softens).

Anyway, a young man with brown eyes, keeping dead birds in his freezer and later taking them out of their coverage in a club named Nightingale Cinema, no less.

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.

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.

Raised on a farm it was commonplace for Sahar to see animal carcasses, skulls, rotting fruit and vegetables and it is in this milieu of birth, death and decay that she discovered beauty in the extraordinary.

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