Artist Portfolio: Susannah Peel // THE AFTERWARD [edited version] by Laura Harris

Artist Portfolio: Susannah Peel

Susannah Peel photographed in Orkney, 29th June 2021

Biography I have lived in Inverness for six years. I obtained a degree in Zoology from the University of St Andrews in 2011. My life and work centers around nature, conservation and animal welfare. I am also a registered Veterinary Nurse (RVN) and have experience of working in a clinical setting and at a local Scottish Exotic Animal Welfare Centre in Nairn. My passion for art is in relation to animal portraiture, murals, natural objects and has been a consistent practice throughout my time at university and during my professional career development so far. It is my mission to integrate my artwork within the wider context of the environment, to explore present and future issues that concern climate change by improving my skills to communicate visually on these matters - for the purpose of positive environmental impact.

Artist FB Page: www.facebook.com/ChangeOfArtSuzyspaniel Instagram: www.instagram.com/change_of_art_suzyspaniel

‘Yoga Stag’, Mural, 21st August 2021 For the Highland Yoga Collective based in Nairn, I was commissioned to produce this graphic logo.

Here, I painted on a large scale on the wall in their yoga studio. I predominantly worked freehand and made the piece from forming precise geometric shapes. It was significant to paint crisp lines and to be bold in my application when painting the circle. From an image projected onto the wall - I drew an outline to judge the size proportions accurately.

The materials I used were typically matt paint; however, to experiment I added glitter to the grey to illuminate the presence of the stag.

‘Inside Jungle’, Mural, 16th May 2019 At the local Scottish Exotic Animal Rescue Centre I focused on my painting strengths and painted a mural. My intention was to give the painting as much depth as possible therefore technically I painted dark greens in the foreground and lighter shades in the background detailing the canopy. I built on realism by painting in layers the plants, trees and animals to bring their characteristics to life. I had studied by observation the way individual plants and trees grow in front of one another so I could replicate this jungle 3D effect in the mural to give it depth of field. I decided to extend the mural beyond the corner of the wall to give the impression of growth, in order for the representation of the landscape to flourish. As a result, this generated a sense of well-being within this specific context. My knowledge of zoology is an integral part of my artwork, which is why it is important that my subject matter combines my interest in biodiversity with imagery and colour.

Further mural documentation:

In reflection, the more layers I painted the more natural life enters my artwork. To add to this enrichment, I continued to paint the mural to fill the whole room. Finally, I finished off by painting other spaces within the Rescue Centre.

’Young Elva & Friend’, B&W Photograph, 21st March 2016

‘Ancient Neighbours’, B&W Photograph, 21/03/16 These black and white photographs convey a personal approach to my art making. They also encompass the fluid theme of people and place. I have Irish heritage and aimed to capture this scene in Tipperary, Ireland – where my niece and her friend had discovered some ancient landmark stones. The contrast in black and white mirrors the conceptual opposites of young and old so gives a juxtaposition of past and present in space-time. The black and white aids distinction, whereas if these photographs were coloured they would distract from the composition, in particular, the girl’s expressions.

Such moments embrace a discernment of a playful thoughtfulness.

‘Still life object I’, Acrylic Painting, 2008

These still life perspective studies provided a very different way of using light to do a study in 3D. Looking at the 3D objects and shadows in life is very different to doing studies from reference photos which have already put the image in to 2 dimensions.

‘Still Life Objects II’, Acrylic Painting, 2008

The studies were a way of observing the light and the way it affects the objects to create a 3D image. I also enjoyed the contrast of the greys and shadows with the warmer colours of the sugar bowl and fruits, bringing the “warmer” objects forward in the image and creating a more 3D effect .

Top Image: ‘Prize Winning Highland Cow Heifer’, acrylics on canvas, 11/09/2021 Bottom Image: Client’s photograph used for primary source reference.

I received a commission to paint a Highland Cow on an A3 stretched canvas. I followed the client’s instruction to remove the head collar and nose ring for aesthetic reasons. I painted from the client’s reference photograph and used colour blending to create a smooth texture for the hair. The highlights in the painting are formed from the smoothness of the blends, the softness of the hair to the curved light around the horns. I honed in on the darker areas to allow for sharper tones and reflections.

Naturally Found Objects & Other Artist influences.

Above: Artist Akie’s painted stones artwork process.

Left: ‘Character Stones’ Acrylic painted objects, September 2021 During lockdown I collected found objects on the banks of the River Ness to paint with a new medium. I took inspiration from the Japanese artist Akie Nakata who paints animals in detail on a small scale by using stones as their canvas. I noticed they manipulate the shape of the stones by matching them to the shape of the animals so they become furthermore ‘real’ and life like. The stones I painted were successful in equal measure because I gained public interest in them, which lead to increased commissions.

‘Through art; working with nature together’, acrylic paintings on canvas 2019-2021 : In collaboration with local photographer James Roddie (www.jamesroddie.com) I produced a series of wildlife paintings from analysing his photographs. In effect, I was able to paint a wider range of environments and to zoom in carefully to note the detail in his high resolution images.

To develop my practice objectively from here onwards, it is my goal to achieve high-end skills in digital photography to paint from life directly or from my own photographic perspective because this will enhance the artworks context and my painting ambitions. Below are some artwork examples.

Both wildlife painting and photography are clear passions in my artwork. This photograph was taken in a garden in Nenagh, Tipperary, Ireland and connects nature to its cultural roots, that is The Landscape. The significance of the photograph is what it aims to represent which is the ecosystem of the life cycle of the insect and how this process itself is creative. For example, the creation happens when the butterfly is seen to reproduce the next generation of pollinators to keep the survival of the species in a state of flow and upmost balance. Simultaneously, I was with my young niece and grandmother hence the synchronicity of events between human and non-human entities was paramount. This is a powerful area of interest I wish to investigate further afield in the nearby future. Thus, I will involve the coming generations in the reconnection to human and post-human ecology.

‘ ‘A Cabbage White butterfly lays her eggs on nasturtium leaves, in Nana’s garden.’

Digital Photograph, 2013.

This photograph was awarded second prize in a ‘Voices 4 Climate’ competition.

It was published in the Agricultural section for the World Bank.