Exhibitions
 Recent
 2006-2009
 2002-2005
 + Black Sun
 - The Dark Hearts
       Still Photographs
       Installation and Sculpture
       Polaroids from the set
       Love
 + Disappear Here
 + Hans and Grete
 1998-2001

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  2007


Love

...In the lovely closing moment of Sue de Beer's most recent video, The Dark Hearts, 2003, a girl in the driver's seat picks up a gloomy boy from his house for a runaway spin to a blue-screen make-out glen. The goth kiddo Adonis takes off his studded and dangling-chain leather collar and puts it around the girl's neck; she takes off her double-stranded necklace of fake, pearly beads and embraces his neck with it. They daintily peck each other. A skull decal looks out at the boy from the passenger-side dashboard. The horror? The horror is the world they live in, which necessitates, instead of diary keeping, making "morgue entries" to figure out their lives. This is the world that's been left to them: darkness transacting in between boy parts and girl parts, in between loving and leaving, in between teen lonliness and adult existence.

De Beer's teens resonate with those night shades created by the twentieth-level wizard and theoretician of the in-between as a state of being, Joss Whedon, the brillian maestro of Buffy the Vampire Slayer. He found in Buffy and the Scooby gang the fittest embodiments for the tumult of nascent adulthood and (as the show and its characters grew) for the brutality of living in the world, where people die, or stop loving, or disappear or change in ways never thought possible, where the Scoobys came to understand, as they shape shifted into their adult selves, that the true horror isn't anything outside but the fractal gruesomeness of dealing with personal demons, psychic slaying often done alone...

Excerpt from Bruce Hainley's article "Teen Angle, the art of Sue de Beer" in Artforum (January 2004)