Sue pam grant biography

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As the French feminist theorist Hélène Cixous suggests in the title of her influential book, The Laugh of the Medusa, this type of feminine / feminist irruption is a Dionysian laugh at Apollonian order. 

Similarly, practice transects the psychoanalytic boundary between Self and Other.

1991: Performed at the André Huguenet Theatre in August 1991, restaged by Sandra Prinsloo with the original Black Sun cast, Susan Pam, Val Donald-Bell, Debra Watson, Lillian Dube, Nandi Myembe.

Discovering a profound connection in their practices, they commenced a daily exchange of works between Cape Town and Tokyo.

Awards, etc

Coupé produced by , directed by Sue Pam Grant, nominated Naledi Award 2006.

A revised version was created and performed in 2013. She is a filmmaker and continues to act, direct, and adapt such works as Patrick Suskind’s The Pigeon and Kafka’s The Common Confusion.

During 2025, while featuring at the Cape Town Art Fair, Sue Pam-Grant embarked on a collaboration with Yoshi Ikeya, sparked when she discovered on Instagram a drawing he had posted of wind-tossed washing hanging on a line that was strikingly like one of her own.

Sources

Gray, 1993b

"Curl Up and Dye still has impact" by Peter Feldman, Artslink 03/22/2013[1]

"Curl Up and Dye still shocks" by Jennifer de Klerk, Artslink 03/30/2013[2]

Malan, Wilson and Fick.

Tucker, 1997. Now I Am Alone 1: pp.50-53.

Together with D.J. Grant she wrote Take the Floor which she also starred in at The Laager in 1994.

Sue co-wrote and starred in Chasing Chairs (2002). The collaboration’s title, “14,734 Dots Between,” winks at Paul Klee’s notion that “a line is a dot that went for a walk” and measures the kilometers between the artists’ studios, the “space in between” that separates and unites them.

She wrote and starred in the solo piece Another Kettle of Fish, directed by Vanessa Cooke (1992-1993).

Each responds to the other’s transmission in a psychodynamic, tactile process that blurs the lines between Self and Other, creator and creation, allowing them to tap into the subconscious and explore the nuances of their parallel artistic expressions as well the spaces between their perspectives.

"Curl Up and Dye still has impact" by Peter Feldman, Artslink 03/22/2013[1]

"Curl Up and Dye still shocks" by Jennifer de Klerk, Artslink 03/30/2013[2]

Material held by NELM.

2014: Directed by Christopher Weare, Intimate Theatre, UCT campus.