Similarly, practice transects the psychoanalytic boundary between Self and Other. For Sue Pam-Grant, most influential among the many artists who have drawn upon psychoanalysis is Louise Bourgeois. Bourgeois, who was in psychoanalysis for thirty-five years until her therapist died, said that art gave her direct access to her subconscious, like a parallel form of psychoanalysis. For Sue Pam-Grant, when art, an interdisciplinary practice, meets the intersubjective practice of psychoanalysis, the private and personal become public and take material form.

Sue Pam-Grant presented “Crazy Moths Performance Encounter,” a “meditation on the artist’s process,” at the New York Psychoanalytic Society and Institute in November 2024. This work combines art and performance, the psychoanalytical space and the studio setting. RoseLee Goldberg, art historian of performance art and the founder of Performa, NYC, aptly discerned in it “a thoughtful and intense rendering of Louise Bourgeois.” First performed in 2023 at The Baxter Theatre, Cape Town for 24 performances, William Kentridge then hosted performances at The Centre for the Less Good Idea.  It was adapted into a six-week immersive residency at the South African National Gallery in July/August 2024, and then at Stellenbosch Toyota Wordfees 2024, where it was nominated for Best Solo Performance.

Collaboration is a fertile field for exploring the terrain between Self and Other. Sue Pam-Grant’s critically acclaimed performance career includes longstanding artistic collaboration with William Kentridge. In 2008, she suggested Kentridge perform in his own work, and then directed Kentridge’s first performed lecture, I am not me, the Horse is not mine, which featured at MoMA in 2010 and travelled widely. Subsequent participation in Kentridge’s projects as performer and maker include HouseBoy (REDCAT Theatre, 2022 and Brown Arts Institute, 2024), O Sentimental Machine (2015 Istanbul Biennale), and multiple seasons at Kentridge’s Centre for the Less Good Idea. 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. Discovering a profound connection in their practices, they commenced a daily exchange of works between Cape Town and Tokyo. 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. 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 kilometres between the artists’ studios, the “space in between” that separates and unites them. The artists met physically for the first time in Tokyo in June 2025 for joint performances.