Susan’s approach to painting is comparable to that of a sculptor. She compiles elements, adding and subtracting as she explores and fine tunes her pieces. Her formative years with textiles building and connecting raw, natural fabrics without the framework of a substrate remains at the core of her painting process.
Activities include pouring jewel toned resin, scraping viscous mounds of pasty gel and extruding shapes from pastry tubes resulting in high relief textures. She uses modern paint products which have the unique quality to change colour as the angle of illumination changes. Assembling these acrylic, resin sculptured components she layers, slices, and pours through a process of exclusion and curation.These elaborate layers are painted in pixels, transformed through geometry. The boundary between digital, sculpture and painting is blurred as the visual contradiction between shapes and lines are celebrated. The materiality of the process creates an identifiable, unique visual language, that is at the centre of all her work.
Activities include pouring jewel toned resin, scraping viscous mounds of pasty gel and extruding shapes from pastry tubes resulting in high relief textures. She uses modern paint products which have the unique quality to change colour as the angle of illumination changes. Assembling these acrylic, resin sculptured components she layers, slices, and pours through a process of exclusion and curation.These elaborate layers are painted in pixels, transformed through geometry. The boundary between digital, sculpture and painting is blurred as the visual contradiction between shapes and lines are celebrated. The materiality of the process creates an identifiable, unique visual language, that is at the centre of all her work.
