Congratulations to Susan Paterson who earned her place as a Finalist in our 4th Edition!

Who are you?

I am an artist living in Dartmouth, Nova Scotia, Canada. My work evokes the past, both in technique and in subject. I do highly detailed studies of everyday objects, capturing the subtleties of the light, colour, and textures that are so fascinating but so often overlooked. When I’m painting, I love getting lost in the details and the challenge of creating an illusion that explains how I feel about what I see. I’m fascinated by light and how it describes form, changes colours, is reflected back, and disappears into the dark depths of a background. I usually work in subdued colours, preferring the subtleties of the subject to stand out. I get great pleasure from slowing down, spending hours intently observing and trying to capture the incredible beauty that surrounds us. I received my Bachelor of Fine Arts from Mount Allison University in 1980 and have received many awards including an Elizabeth Greenshield’s Grant, 2nd Place Still Life, 14th ARC Salon, and a Purchase Award, 15th ARC Salon.

What inspired you into painting?

I feel like I’ve always wanted to be an artist. My parents noticed I was always drawing and gave me a paint set when I was 11. I enjoyed it and a year later they found an instructor for me. He taught adults and was reluctant to take me, but later said I meant business right from the start. I’ve always wanted to paint in a realistic way; I love the challenge of painting something that looks so real you could pick it off the surface.

Can you explain why you choose painting as a medium/have you experimented with other mediums?

My first lessons were in oil painting and I didn’t even know there were other mediums at the time. Years later at University I discovered sculpture and photography, but still preferred painting. I did really enjoy printmaking though, etching in particular, and I continued doing prints for quite a few years. During university I remember wanting to learn more about old master oil painting techniques like glazing and underpainting. However no one could help me, those techniques weren’t taught - the instructors didn’t know them either. My painting gradually switched over to watercolour which I worked in exclusively for many years. Then 14 years ago I found a Dutch Traditional Oil Painting Techniques course and signed up right away! I was hooked. I love the richness and depth of oil paints and experimenting with layering to get beautiful effects that you cannot get otherwise.

Can you discuss the decision to create mainly still life work?

For many years I worked in watercolour from photos. Then after I took the Dutch oil painting course I decided to switch it up and just work from life. My main subject had been landscapes, but I decided while I was getting used to painting in oil I’d try still life as it didn’t move or change and I could work as slowly as I needed to. Previously I had done some still life, florals mostly, but as I learned more about the Dutch Masters and improved my techniques, the more I loved them. And eventually it became more and more personal to me; I started using objects that were passed down, old photos, teapots and dishes that brought back wonderful memories. They reminded me of a slower time when people spent many hours creating heirlooms by hand. I want the love that went into those objects to come out in my paintings.

Can you tell us about the inspiration behind "Artist's Collection" ?

Most of my paintings had been smaller works and gradually I did a few a bit larger and then with this one I decided to go quite large (for me) and fill it with lots of ‘stuff’. I have a large collection of antique objects, laces and fabrics and I wanted to try a more complex composition with an abundance of riches. I chose objects that went together, that complimented each other or contrasted nicely, with various textures, colours and details. I didn’t start out with the central bowl being the focus but as I arranged things it started to become more dominant. It stood out because it was plainer and larger than the other pieces and I liked how it became the centre of attention. People ask if the eggs signify anything, they don’t. I just like how they are a rest for the eyes, a moment away from all the busyness of the rest of the objects. The composition becomes more and more complex as you consider the reflections. With them we see so much more, the rear view of the objects, the studio, the artist; the viewer is drawn in more and more as they explore all these little details.

Can you walk us through the physical creation of "Artist's Collection"?

I arrange the objects in a black box with a single light source. Once I am happy with the set up, I do a detailed drawing on paper and transfer this to my board. Then I start with dead painting, thinly blocking in the larger shapes and laying down the general colours, leaving the details until later. Working from back to front, I do one layer and then another, breaking down the shapes into smaller and smaller areas. The third layer adds more detail, and, in some areas, there is a fourth layer to improve or tweak things. This piece took 200 hours over several months. I use a small monocular to see some of the details in the set up better.

Given the technical nature of your work, do you struggle with the need for perfection? IF SO, HOW DO YOU HANDLE IT?

I do struggle with perfection and when to call a piece finished. I usually start to see that what I’m doing is not improving anything and I just have to say to myself it’s done, put down the brushes! I recently realized that as I’m working on a piece, I’m constantly looking for what is wrong, what can be improved; that’s difficult to stop. But after putting it away for a week or two I can more easily see what is right and maybe a couple of things that need correcting.

What projects are you working on currently? Can you discuss them?

Currently, while the garden is in full bloom, I’m working on some floral paintings. Once I got more comfortable with oil painting I started trying to paint florals from life and painting landscapes en plein air. I really enjoy both, though it’s quite a challenge for me to paint so fast.

I will be back to painting still life in late summer and am just working out some ideas currently. I did a piece recently that included a velvety fabric along with the lace and silver. I’m thinking I might explore more rich textures, especially velvets and brocades. And I have collected some new silver pieces that I can’t wait to paint.

Lastly, I would like to ask what advice you would give to your fellow artists/photographers?

If an artist is interested in representational art they should spend a lot of time learning to draw before they start to paint. It is such an important step and will make a huge difference in your painting. Artists should never stop learning. I still love taking workshops to learn new ways of doing things or to improve on the old. My whole career I have always tried to show my work in galleries. Selling art takes a lot of time and effort and sometimes it’s better to spend that time and effort just on painting.

To view more of Susan Paterson’s work

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