My current work, The Border Project is an intervention—at once aesthetic, archaeological, and archival—into the spaces and objects associated with the great migration north across the Rio Grande and into the United States. Since 2007 I have photographed the possessions left behind by migrants crossing the U.S.-Mexican Border near Brownsville, Texas, and Matamoros, Mexico and west to Laredo and Eagle Pass, Texas. Migrants swim across the Rio Grande and then quickly change from wet clothes into dry clothes and disappear into the general population. If stopped by the Border Patrol, they are asked to empty their pockets of everything non-essential. I see the resultant personal items strewn along the border as symbols or relics not only of a changing culture but also of a longing for a better life, security for one’s family, a safer environment. 


My images are visual conversations about the material culture of the migrant experience that compel us to consider our own worldview. Images of a deflated inner tube dropped by the road, a wallet mired, its contents spilling into the mud, footsteps revealed in soft earth, and river-wet clothes wrung, wadded, and cast aside document ordinary things possessed with extraordinary associations of flight, hope, panic, determination, and fear. My work questions how the vanities of our own habits and the frailties of our own seeing reinforce unspoken ideologies of power. It is not just what we see that matters, but how our privileged vantage points contextualize images and their content.

I first photograph the objects in situ as I find them. Then I ship them back to my studio where I rephotograph them in a studio setting, tag and number them and place them in an archive. This anti-archive subverts the traditional concept of the archive. Instead of saving the objects of the rich and famous it holds the objects left behind by unknown migrants heading north. The objects placed in a gallery setting become reliquaries. I now have over 500 objects in the archive and am working to create a searchable online database of the studio images.
 
 




















































NEW BORDER PUBLICATION
Residues of Border Control in Southern Spaces
Susan Harbage Page and Inés Valdez
Striped Clothing, Brownsville, Texas, 2008
Overview:
Since 2007, Susan Harbage Page has photographed objects left at the U.S.-Mexico border, both on site in the Rio Grande Valley, and in her studio. In this photo essay, Inés Valdez comments on the significance of Harbage Page's images of the traces left by immigrants and by those who control the border. Valdez's discussion also challenges the historical representation of the U.S. as a welcoming "nation of immigrants."
http://southernspaces.org/2011/residues-border-control

Congrats to Ana Martinez for her new publication. She includes my work in Chapter 14 Relics, Artifacts, and Bones: Activating Migrancy's Traces Through Performance.

Link to the Book is here. 

https://www.routledge.com/Puppet-and-Spirit-Ritual-Religion-and-Performing-Objects-Volume-II-Contemporary-Branchings-Secular-Benedictions-Activated-Energies-Uncanny-Faiths/Orenstein-Cusack/p/book/9780367713799?srsltid=AfmBOopkns5VJkGs_3s6pRYiU17jbVE2DrfDTwSIE60jfMR14Arcdx5L

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Thanks to Ana for highlighting this important subject.

SHIFTS - 2022

Shifts - A conceptual series of photographic self-portraits thinking about bordering and bodies.

The painting is gouache on old maps I found at a flea market in Italy. I took the maps apart and rearranged them into this borderline.....blue references water for me in this work and the black interrupted line the traditional marking on a map for a border or division of some sort. I have also been thinking recently about "The Commons" and how that historically existed.

Close to Home (November 19, 2024 – March 23, 2025) is a celebration of CAM’s collection featuring works by artists with a connection to our state, our region, and our home. Join us as we explore images of people and places that evoke the varied spirit of our community. Hidden treasures join beloved familiar works in a showcase of artistic voices, a collective search for the meaning of home.

Bridging Borders, July 17, 2023, Spello, Italy

We spoke on the phone and did some planning but Tamara Soldan and I had only one day in person before our performative collaboration to finalize what we were going to do. We gathered voices from friends and colleagues talking about borders in their lives prior to coming together. 

I wanted to know what people thought about borders and what exactly the word border meant to them.

Congrats to the McColl Center in Charlotte, North Carolina. I was so fortunate to have many ties to the McColl Center through a residency, exhibitions, and leading/teaching workshops through the Innovation Institute. It is a place of community, dialogue and a commons for the arts.

Standing Performance (2005-2023)

Standing on a very narrow history of patriarchal art that many of us grew up on. 

This collection of H.W. Janson's "A History of Art" books is the last thing left in my office before I retire. Coincidentally, my office was previously a women’s dorm room at UNC. I used to use these books in a performance designed to deconstruct art history on the first day of my Women and Gender in Contemporary Art Course.

Susan Harbage Page Wednesday, November 8th, at 7 pm EDT on Zoom Join us for a dynamic and exploratory conversation with Susan Harbage Page as she shares more than 15 years of meditations and explorations on the U.S.-Mexican border. As a socially engaged citizen Susan Harbage Page uses a variety of media including photography, performative interventions, sculpture, video, works on paper, and more.

New Exhibition Catalogue out. Published for the exhibition Susan Harbage Page: Embodied Cartography in Terretorial Disputesat Davidson College fall 2022. The exhibition was curated by Director of Davidson College Art Galleries, Lia Newman and includes essays by Ana L.
Contact Info
Contact Info
susanharbagepage@gmail.com
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