Sue Martin

Sue Martin completed her Fine Arts degree at the University of Natal, Pietermaritzburg, before moving to Johannesburg in the early 1980s.

Both her recent prints and paintings have the hallmarks of so much of her previous
work. There is an experimentation with various media, including oil paints, beeswax, photography and surfaces.

Sue’s work is essentially concerned with journeys both literal and figurative; it also deals deeply with memories.

The extensive use of gold evokes the sense that wherever we go we take that which is most precious to us particularly our thoughts and memories.

Her work has a faded quality because, like the memory, it is a resonance, a faint echo of things remembered.

Her otherwise limited palette of earthy tones and figures set in timeless landscapes achieve a dreamlike quality. But while the figures that move or float through these landscapes give a surface impression of nostalgia and whimsy, this is offset by suggestions of a harsher reality below and behind what we immediately perceive.

Her use of veils of colour
metaphorically echo the many layers of meaning present in her work, as well as evoking layers of time.

Her use of literal maps, in this series, suggests that the surface we traverse, has already been mapped and allocated, so ownership becomes another aspect she uncovers. In this case Sue works her figures and fauna and flora to sit above the
topography of the land, masking but not entirely hiding what the map represents.

Every new series of work that Sue embarks on is the culmination of a deeply meditative and creative process. She is a highly conceptual artist with a strong message in all her work.

Sue Martin completed her Fine Arts degree at the University of Natal, Pietermaritzburg, before moving to Johannesburg in the early 1980s.

Both her recent prints and paintings have the hallmarks of so much of her previous
work. There is an experimentation with various media, including oil paints, beeswax, photography and surfaces.

Sue’s work is essentially concerned with journeys both literal and figurative; it also deals deeply with memories.

The extensive use of gold evokes the sense that wherever we go we take that which is most precious to us particularly our thoughts and memories.

Her work has a faded quality because, like the memory, it is a resonance, a faint echo of things remembered.

Her otherwise limited palette of earthy tones and figures set in timeless landscapes achieve a dreamlike quality. But while the figures that move or float through these landscapes give a surface impression of nostalgia and whimsy, this is offset by suggestions of a harsher reality below and behind what we immediately perceive.

Her use of veils of colour
metaphorically echo the many layers of meaning present in her work, as well as evoking layers of time.

Her use of literal maps, in this series, suggests that the surface we traverse, has already been mapped and allocated, so ownership becomes another aspect she uncovers. In this case Sue works her figures and fauna and flora to sit above the
topography of the land, masking but not entirely hiding what the map represents.

Every new series of work that Sue embarks on is the culmination of a deeply meditative and creative process. She is a highly conceptual artist with a strong message in all her work.