Sue Beyer
Sue Beyer is an emerging artist based in Brisbane, Australia. In 2006 after a 10-year career as a graphic designer, Sue enrolled at the Queensland College of Art (QCA) to pursue fine art professionally. Sue is currently completing third year and is already an active exhibitor. In the past year Sue has been included a number of art prizes and exhibitions including the LAUNCH Clayton Utz Travelling Scholarship, The Churchie Emerging Art Prize, Artworkers Award and the Prometheus Art Prize. Sue has also has been included in exhibitions in the new Gold Coast art space 19Karen.
Sue’s work can be seen online at www.suebeyer.com.au and on her regularly updated blog http://suebeyer.blogspot.com/
They drew a veil of darkness across the proceedings - 2009
Acrylic, posca pen and ink on canvas - 120cm x 120cm
Let’s start with your Artist’s statement…
“Through the genre of landscape painting, I explore how people use space in a modern urban context and the assumption of the permanence of our way of life and our cities.
In particular I look at patterns of urban design and outer suburban sprawl, which is the product of individual choices concerning the ownership of space, and forms the setting for displaying the trophies of conspicuous consumption.
By doing this I am conducting a social critique on our modern patterns of living expressed through the social consequences of urban design.”
What personally motivated you to begin a career as an Artist?
I have always been a creative person. Art is very important for me. If I’m not creating the stuff in my head, I am not very nice to be around.
After working as a graphic designer for 10 years and being really unhappy I decided that I had to take a chance and be an artist full time. Leaving behind my financial independence and somewhat successful career was extremely difficult for me. But I am the happiest I have ever been.
What I find compelling about Visual Art is that I can get my ideas across to almost anyone and I hope that viewers may question their preconceived ideas about things
It is important to ensure that all connections between the wires are properly made - 2009
Acrylic, posca pen and ink on canvas - 120cm x 120cm
The overlaid maps and architectural elements in your paintings have quite a graphic quality to them; do you think your experience as a graphic designer has influenced your pictorial decision making?
My design background has definitely influenced my decision making, especially in terms of composition and colour.
I really like the line and form that can be found in mapping. I also like maps because they show how we try to make order out of an essentially chaotic landscape.
What are the main medium/s you work in?
Painting in acrylic and oil, and currently installation as well.
What caused you to choose the medium you currently work in?
At the moment I am using acrylic because I can get really unnatural colours. It also dries quite fast and I can do more work, more quickly.
Police were called in to quell the chaos - 2009
Oil on canvas - 120cm x 210cm
Would you describe your work process as fast or slow?
I am a really fast producer. I work obsessively until it is finished and then I make more. I think I am a workaholic.
Do you aim to break the rules of basic composition, layout etc or do you ignore the “rules” and just create?
I always use the golden section in my work. I find that proportion of space it creates very pleasing to the eye. It’s like a failsafe. It always works.
Pandemonium broke out - 2009
Oil on canvas - 120cm x 210cm
Do you keep an Art Journal or Visual Diary of some kind?
I keep journals all the time. I buy the A4 size with blank pages and stick in things that I am interested in, information on other artists I like and ideas for work. I can look back at them anytime and find out why I did things. It’s interesting to look at old journals. Sometimes I get new ideas from the old ones.
What happens to works that “don’t work out”?
I usually take off the canvas and re-stretch the strainers. I hate wasting materials.
Are there times of the day when you prefer to do your work?
I usually do most of my work from 9am – 5pm, 6 days per week. But I will work whenever the mood takes me. If I am really busy I will work more, but I try to have one day a week for fun.
At first I tried to keep it a secret from my neighbours (night terrors) - 2009
Acrylic on canvas - 3mts long approx
How many artworks do you work on at the same time?
I work on 2-3 pieces at the same time and I usually work on ideas in my head at the same time.
How would you describe your art education?
I am still at uni at the moment. I am in 3rd year at QCA in Brisbane and next year I plan on doing honours. I’d say my art education is helpful to a point. I try to get what I need out of it and ignore the rest.
One word or statement to describe your current works?
Night-vision
Now give us a more descriptive outline on your current works.
My newest paintings reflect the unseen issues of suburban society.
A suburban residence viewed as through night-vision goggles. A furtive recording, as if from a reconnaissance mission, where the salient details are captured succinctly for later consideration.
The scene is still, with the anticipation of events about to unfold.
A familiar scene on the verge of transition to the strange, representing the dreams and aspirations of a society heading into uncertain times. The fundamental assumptions that make the suburban form possible may no longer hold valid, causing anxiety beneath the calmness of the surface, even as it reaches its fullest expression. The advent of peak oil, climate uncertainty, demographic change, shifting geopolitical realities all impact the stability of a financial system based on risk and the concept of limitless growth.
How will they change the way we view our lifestyle in the coming century?
Will the now commonplace seem strange – how transient are our seemingly permanent marks on the surface of the world?
They began to make camp before darkness fell - 2009
Acrylic, posca pen, gouache and ink on canvas - 120cm x 120cm
Has your work changed much since your earliest efforts?
When I first started painting I had no direction. Since 2006 I have been painting about what I am doing now. My technique and concepts are much better than it was a few years ago.
How important is the clarity of concept to you, prior to starting an artwork?
I identify strongly with the conceptual artists. Concept is everything for me. If I didn’t have a concept I would just be making pretty pictures and that’s not acceptable for me personally.
What fascinates you or inspires your ideas?
I am driven and obsessed about consumerism, town planning/urban design, architecture, space and the home. Sociology, semiotics and psychogeography also fascinate me.
What are you currently working on?
I have recently completed a public art commission for the Queensland State Government and now I will be working on a series of paintings and then an installation in late November
Though still at university you have already been included in some well known art prizes; how do you think selection into such prizes aids your art practice?
I really think it does help to get into these shows when you’re starting out and trying to be noticed. Lots of different people go to those shows and you never know who might be seeing your work and hopefully taking a bit of notice. I never expect to win anything.
Does your work have social, political, cultural and or personal messages?
Both political and social.
What sort of depth or meaning is there behind the work you do?
I use semiotics in my work. I like to reference ‘lifestyle’ magazines. In particular modern architecture and the utopian ideals associated with modernism.
You mentioned semiotics a couple of times now; for the benefit of those who haven’t yet studied semiotics could you give a brief explanation or definition of the term?
Semiotics is something that I used a lot in my graphic design practice. Just briefly, semiotics is the study of a system of signs.
For example the colour red can signify things like danger, love, speed or blood. So if I wanted to make a road sign that drivers need to take notice of, I might use the colour red as it draws attention to a potentially dangerous situation that needs to be avoided. Thus, stop signs are red.
Another example of a semeotic sign is that people who identify with the emo subculture generally wear skinny jeans and like the band ‘my chemical romance’. If you heard that someone liked ‘my chemical romance’ you might assume without even seeing them that this person is an emo and wears skinny jeans.
A great website to learn about semiotics is:
http://www.aber.ac.uk/media/Documents/S4B/semiotic.html
Is there any one thing that has given you a big buzz in your art career so far?
I won first prize in the Royal Brisbane and Women’s Hospital art award in 2008.
How did your first solo show go?
I did my first solo exhibition last year. It was supposed to be a joint exhibition with another artist but they pulled out. I had lots of work that all related, so I decided to go ahead with it anyway. It was a party! I sold three big paintings, which more than covered my costs, and I had a great time.
All artists seem to have struggles, tell us about any you have had.
I am constantly criticising my work and ideas. I get sick of looking at my work sometimes and question what I am doing. This lasts one or two days at the most and then I am off and running again. I suspect that a lot of artists go through this though.
How important is it to you that your work communicates something to the viewer?
It is important to me that viewers take something away from my work. I don’t want to be overly didactic with my work but I do have a message to get across. I would like the viewer to decide what the work is about. The work guides them to point and then they need to do a bit of work for themselves. It’s a two way thing. Having said that, if a developer or town planner saw my work they would get it straight away because I use their language a lot in my paintings.
What about the role of titles with your work?
I love coming up with titles for my work. I have a process that I use and it is working well so far. The titles are important, as they help to reveal the meaning of the work. Sometimes they might be a puzzle for the viewer.
If someone says to you “Oh your work is decorative and lacks any meaning…” what would your response be…?
Are you blind?
Tell us about getting caught in a creative “slump” and how you got out of it?
If I feel like I’m in a slump it usually means that I need a holiday. When it happens I read, watch dvds, go roller skating a lot, anything except making art. The need comes back soon enough.
What or how do you respond to the term “Starving Artist”?
It’s a shame that money has so much control over how a person lives their life. It seems that we don’t have much of a choice in our consumer driven societies, unless you are wealthy, you need to earn money to survive.
How do you establish your art work prices?
I work out my prices by size. When I graduate at the end of this year my prices will go up a few hundred dollars.
Do you have a personal philosophy that underpins your work?
Work hard and then work a bit harder. And don’t get too confident, there’s always someone out there that’s better than you.
Eccentricity is seen as a common trait of artists of many disciplines, how about you?
People have said this about me. I don’t mind, actually I quite like it. It’s better than being boring.
And lastly, interests you have other than art you feel are important to mention?
Roller Derby!
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Compiled and edited by Amanda van Gils © 2009+
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Great juxtaposition of different elements/colours in the works