Susan Farquhar

Artist Statement

Canadian imagery is in essence a varied and changing set of ideas. Such concepts are difficult to capture and conceptualize, as they are ever-changing and multi-dimensional.

The Canadian collective reality fascinates me. While historians and writers allude to a relatively cohesive interpretation of this experience, to me, we each visualize our experiences in a more multi-layered and unique manner. Our visual memories – the images we hold within our hearts – are profound expressions of ourselves.

When we open our minds to all that surrounds us, we broaden our scope of potential visual memories. More material, from different sources, becomes available to us. This abundance of possibility sets the stage for infinite transformation and growth. Such being the case, I feel my “finished” works are not irrefutably complete. Instead, they are testaments to where I was (mentally and emotionally) at the time of completion.

Process is Everything

Whether inspired directly from landscapes or old photos found online, my pieces are ultimately the embodiment of my own unique interpretation of what I see.

While the finished piece speaks volumes, the journey to that “final destination” is what I consider most interesting. The thoughts and feelings I have along the way dictate my every move: the forms my pencil creates, their placement on the canvas, the colours I employ, how I layer them, and so on. With the photos, it’s the images themselves – not the accompanying descriptions – that speak to me most. I like to draw my own conclusions, based on expressions or placement of the objects. My first impression of these sorts of details becomes my motivation.

I begin by applying layers of colour, texture, and collage onto square surfaces. The collages are layers of my drawings, printed on delicate papers including Japanese handmade sheets comprised of details from the physical landscape. Collectively, the layers of prints over colour and texture create a single, more personally relevant image.