Suzie Idiens, Flesh Yellow, MDF and Polyurethane, 69 x 77 x 7 cm, 2012 (courtesy of the artist)
Brent Hallard interviews painter Suzie Idiens about her work.
Idiens comments: "Product manufacturing processes influence how the pieces are made, but not why they are made – it’s more a means of getting closer to singular form and colour. Initially softening the edges was instinctual, a way of giving the pieces a more sculpted, solid form. Once the high gloss finish was applied it then became a practical element of dealing with the visual continuity of the reflective surface by having a curved edge. As a result it does make them look rather plastic and manufactured, but they retain a certain (visual) weight about them. The deep relief gives the forms a tangible physicality, and the smooth reflective paint finish gives a luminous material quality to the colour, which in turn changes with the naturally transient effect of light and shadow. The paint finish is rather deceptive – though physically very thin it appears to have more depth, so that makes it intangible, gives it an otherness… rather like you try to look ‘into’ the object, but all you are really catching is what is being reflected in the piece."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.