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One of the three minimalist geometric structures in the "Cli-Cha" installation, composed of metal rods, forms incomplete linear compositions in yellow, blue, red, and green, placed on individual pedestals. The forms represent the process of a client entering a law firm: problem, procedure, and resolution. Inspired by the experience of silence in the Clifford Chance building, the work reflects institutional order and controlled communication systems.
One of the sculptures in the installation, titled "Threads of Resurrection," comprises several independent sculptures formed by three welded metal rods creating an X-shaped structure, wrapped in vibrant colored threads. The work reflects a moment of questioning identity during the artist's studies in London, where visual memories of Indigenous women in colorful clothing walking the streets of Ecuador emerged as a central reference point for belonging and cultural transformation.
"Constraint" is a mixed media sculpture combining a poncho worn by an Ecuadorian indigenous woman, cardboard tube and ropes to embody material resistance through cultural memory.
Wall-mounted sculpture titled :Trenza" and composed of a small tree branch bound with a woven Indigenous hair ribbon, tied to a single nail. The work holds the tension between natural and cultural materials, referencing the braid as a structure of care, identity and continuity. Suspended on the wall, it transforms an everyday gesture of tying hair into a fragile architectural form.
Installation artwork titled “7 Witches” consisting of seven wooden pole figures dressed with Indigenous women’s ponchos leaning against a wall by a Latin American artist based in London.
Detail photograph of the installation "Threads of Resurrection", showing a close-up of the thread-wrapped metal structure at the point where the direction shifts. The image isolates a moment of transition within the work, highlighting the change in spatial tension and movement within the sculptural form.
Mixed media sculpture titled "Switch Body" composed of fragmented fabric forms suggesting a disassembled face, a hemispherical grey element functioning as an eye, and a grey glove activating a switch. The work explores fragmented perception, control, and the tension between bodily presence and mechanical activation.
Sculpture titled "Rope Head" made from thick rope forming a self-supporting head-like structure resting on the ground. A section is wrapped with woven Indigenous textile tape, introducing cultural memory and material tension. The work reflects on embodied structure, resilience, and the fragility of identity held through material constraint.
Detail photograph of Cli-Cha, showing a partial rear view at eye level of one of the structures. A semi-diamond form is visible behind a linear sequence of metal rods, creating the impression of a living system observing the empty reception space. The work is part of an installation of three minimalist geometric constructions made from metal rods in yellow, blue, red and green, each placed on individual plinths. The forms represent the process of a client entering a law firm: problem, procedure and resolution. The work reflects institutional silence and controlled systems of communication within the architectural space of Clifford Chance.
Latin American artist in London working across painting, thread and sculpture.

What happens in the seconds before we know where we belong?

Photograph showing the artist’s shadow in the foreground of an open outdoor space, with English residential houses and two parked cars in the background. Near the shadow, a directional road sign marked “Byway” with an arrow pointing to the right introduces a sense of movement and orientation within the landscape.

About Susana Uvidia 

A home can feel unfamiliar.
A stranger can feel familiar.

Latin American artist based in London in her studio.

Portfolio

Curious Eye is a small self-standing sculpture made of three welded metal rods forming an X structure, wrapped in brown and white thread. The work functions as a symbolic eye, reflecting states of curiosity and caution through tensioned material wrapping and minimal geometric form.
Loose Tension is a Wall-mounted sculpture composed of cane rods and cardboard sheets, incorporating an Indigenous women’s poncho with a loose rope passing across the face, suggesting a loss of tension in the binding structure. The work explores fragility, displacement, and the shifting stability between natural, constructed, and cultural materials.
Rosmakler is a hanging textile installation composed of fragments of used clothing from a community in Wigan combined with an Indigenous poncho, bringing together two textile identities within a single suspended form. The work reflects on collective and personal identity through material memory, connecting place, heritage, and everyday wear. It is accompanied by a sound track composed of altered adjectives taken from participants’ responses when describing their experience of deconstructing their own garments, transformed into an abstract sonic language.

My Portfolio Gallery

Thread. Steel. Colour.


Not as materials, but as states of relation.

Belonging is never fixed.


It appears briefly, then transforms.

​

What remains is the interval.

Self is a Portrait painted on refrigerator backing felt material, depicting a tilted figure facing left with a single visible eye. The composition includes a white face, black hair, and a red background, with the texture of the surface actively shaping the image. The work explores instability of self-representation through material resistance and distortion.

Get in Touch

Reach out to S. Uvidia for inquiries, collaborations, or to share your thoughts on her impactful work. Your feedback and support are greatly appreciated.

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