Growing up in rural Ontario, presently living in the South Georgian Bay region and spending summers in Newfoundland, informs Sue’s artistic journey which is motivated by the abstracted interplay of natural elements and humanity’s primal connection to our environment. Working full-time from her studio in the beautiful village of Creemore, Ontario, Sue has produced work that has been exhibited in Canada and in Europe and is held in private collections across North America, Europe and Japan. Along with her 25-year studio practice, Sue has an extensive teaching career spanning 30 years and includes working with First Nations in Newfoundland/Labrador and Nova Scotia. She is also a long-time member of the summer faculty at Sir Sanford Fleming College, Haliburton Campus. Most recently Sue has taken on the volunteer role of curator with the Wasaga Society for the Arts, assisting in starting the first ever public art gallery in Wasaga Beach, Ontario.
My passion for the natural world grew through my upbringing in rural Ontario, Canada. I spent a great deal of time exploring my local environment -- the forests, wetlands, and waterways -- which activated my imagination and provided me with solace, grounding me to a set of interconnected spaces whose beauty and complexity I found fascinating. This continues to propel my creative drive as well as my commitment to responsible stewardship. Through a visual language that reflects the universal through the personal, my work aims to remind the viewer of our spiritual & primal connection to nature.
My work evolves intuitively, using my visual memory, exploring the basic and abstracted qualities of water; transparency, reflection, depth and movement. Layers of oil paint are applied and removed using tools such as squeegees and catalyst wedges, until an abstracted image emerges that reveals the essence of the subject. The mystery of humanity’s complex relationship to water is revealed at an emotional level. My process continues to excavate the 'self' in relation to our natural surroundings.
In recent years I’ve been exploring immersive installation, including suspended sculpture and soundscapes, as a more effective way of creating experiential intimacy. My work continues to be a process of psychogeography, an investment of the self into our natural surroundings, which ultimately calls on the viewer to respond.