Susan Simonini
Through a tactile and layered paint surface, Susan Simonini creates abstract compositions that reference the agricultural landscape while questioning themes of place and belonging.
Where are you from and where do you reside?
I am from Australia and reside in rural Tasmania.
What necessities do you require when making your art (radio, specific paintbrushes, etc.)?
I can’t paint without my favorite apron which is covered in about 25 years of accumulated paint. Other than my brushes, I also have a set of essential tools (including scrapers and palette knives) that help me achieve various surfaces and textures - some of which belonged to my grandmother, who took up oil painting in her 80s. I really need music pumping in the studio - so my extra bass bluetooth speakers are an essential item.
Describe a typical day in the studio for you.
It varies, but usually I get up around 7 am, have breakfast, do some stretching or yoga and then do my household chores. I make a coffee at around 9am and head into the studio. Usually I look at some art books, write some notes in my sketchbook, and just sit for a bit, looking at, and thinking about the paintings that are in progress. I will start painting by about 10am and work through until about 5pm, with a quick break for lunch. Then my husband and I will go for a walk with the dog around our property before I go back into the studio to clean up my brushes and get ready for the next day.
What is the most difficult part of the artistic process for you?
Starting a new body of work can be daunting for me, especially after a break. It helps to just “play” and begin the process with intuitive mark marking and little thought about the outcome.
Are there any aspects of your process that are left to chance?
Yes - a lot of my process is chance and often paintings will take me on very unexpected journeys. Some of my best works have come from simply allowing an unimpeded flow state.
How do you choose your materials?
I work very quickly and intuitively, and in layers, so I choose materials that support that process - acrylic paint and spray paint. If I do use oils, I use quick drying mediums. I also love the immediacy of drawing materials - coloured pencils, crayons, charcoal etc.
How has your work developed in the past few years, and how do you see it evolving in the future?
My work has always had similar themes of place and belonging, however the way I work has become a lot more about taking risks and trusting the process. I have focussed more on listening to my own voice and making work that brings me joy.
When did you begin your current practice?
My arts practice has spanned 25 years, working in various mediums, but I have been focused on painting full-time for the past 5 years.
Colour conveys the emotions behind the work, and for me, is probably the most important element, but the hardest to get right. Through the process of layering, and the addition and subtraction of paint, my paintings are often very textured and have a patina reminiscent of aged surfaces.
Susan Simonini
How do your surroundings direct your approach to your work?
I have an amazing, spacious home studio that allows me to work with complete freedom and a sense of peace. I have the flexibility to work at all hours of the day and to fill my workspace with all the objects and materials that inspire and comfort me. As we live in a remote, rural area, I literally and metaphorically have the space to create like I never have before. It has had a profound effect on how I work.
What tangible objects or intangible moments are you most interested in representing through your works?
Although the shapes and forms in my work are inspired by the landscape, I am most interested in capturing feelings of joy and happiness. Not only are these the emotions that I feel when painting, but it's also the emotions associated with childhood, memory, nostalgia, family, belonging - all the beautiful things about life. I definitely choose to represent positivity in a world where it can be lacking.
What are some themes you find recurring in your pieces, intentional or not?
I often find that there is a nostalgic aesthetic sensibility to my work that feels almost carnivalesque. I trace this back to childhood memories of the circus and agricultural festivals in Australia – subjects that would often make their way into my old sketchbooks, in which I would attempt to harness the colour, light and revelry of these events.
How do the different elements color, form, and texture come together in your works?
That's a BIG question - I use all three to create harmony in my work. Form for me is getting the balance right and making an interesting composition. Colour conveys the emotions behind the work, and for me, is probably the most important element, but the hardest to get right. Through the process of layering, and the addition and subtraction of paint, my paintings are often very textured and have a patina reminiscent of aged surfaces. This is the history and the layered meaning of the painting. So all three elements have to work together to tell the complete story of the work.
Are you formally trained? Did you go to art school? Who did you train with / Did you have a mentor?
Yes - I have a Bachelor of Fine Art from The Queensland College of Art (Griffith University) I found art school challenging as there was a strong focus on conceptual art when I attended, and painting was considered “dead”. Over the years I have attended many workshops and masterclasses with artists whose careers I admire, and these have really inspired me to push my painting into new territory.
Do you remember the first work of art that captured your attention?
The National Gallery of Australia purchased a Jackson Pollock painting in the 1970’s and it was very controversial at the time. I was only 5 years old, but I remember seeing it for the first time when I was about 14 and being blown away!
Do you admire or draw inspiration from any of your peers who are also working now? Have you ever collaborated, or would you? How solitary is your art-making process?
I have a couple of great girlfriends who are also artists. They don’t live in the same state as me, but we keep in touch with regular phone calls and I absolutely rely on them for moral support. My practice is a solitary one, and I’m not big on collaboration, so I definitely need those people in my life that “get” what I do, who can talk me off the ledge from time to time!
Is there any artwork on display in your home/studio? Whose is it?
I have several original artworks and limited edition prints in my home and studio, mostly smaller works. I have a painting by Sarah Boyts-Yoder, a couple of collages by Jane Cornwell, a drawing by Terry Ekasala and a beautiful big work on paper by German printmaker Stefanie Neumann.
A lot of my process is chance and often paintings will take me on very unexpected journeys. Some of my best works have come from simply allowing an unimpeded flow state.
Susan Simonini
What’s one of your favorite objects you own? What’s the story?
Oh gosh, it’s hard to choose just one as I am an avid collector of objects! I have a Garfield mug that I’ve had since I was 13. A lot of my cherished childhood things were either thrown out or destroyed in a few pretty traumatizing incidents, so as the only surviving, much-loved object from childhood, it means a lot to me.
Is there something people would be surprised to learn about you?
Most people are pretty surprised that I surf and ride a longboard skateboard. I’m never sure why people are so surprised, but I love breaking stereotypes!
What has been your biggest breakthrough in your art practice?
Letting go of external validation and living by the mantra - just do the work.
What’s next for you?
Apart from a few group shows later this year, I haven’t committed to showing a lot of work over the next 12 months. I have just wrapped up a big solo show, and want to dig deeper and expand on that body of work.
Published June 17, 2024.
