Sue Beyer
South Carolina School of the arts
Australian artist Sue Beyer has exhibited internationally, and received support through cultural agencies such as Australia Council, Creative Victoria and the Sidney Myer Fund & The Myer Foundation. Beyer has been a finalist in multiple prizes, was the winner of the Emerging artist category in the Stanthorpe Art Prize (2014) and awarded the National Gallery of Victoria Women’s Association Award (2018) for work created as part of her MFA. Her work is part of numerous corporate and public collections including Artbank, an Australian Government art collection. Sue is represented internationally by Studio Gallery Group in Melbourne Australia, and Bos Fine Art in The Netherlands.
Early_Morning_Narcissus_River_Mt_Gould_Ducane_Range_Tasmania_Haughton_Forrest_(1826-1925).html’
Early_Morning_Narcissus_River_Mt_Gould_Ducane_Range_Tasmania_Haughton_Forrest_(1826-1925).html The central subject that influences my work is place and space. Using a multidisciplinary, process driven approach, I focus on ideas relating to sensory thresholds, transformation and the in-between. At the present time I am making paintings, new media, electronic and video works that reference other artist’s work, that I find on the internet. Using various techniques the digital files are transformed. Through these processes, the materiality of the digital file is revealed, while commenting on the original intent or meaning that the painting held when first made.
‘Early_Morning_Narcissus_River_Mt_Gould_Ducane_Range_Tasmania_Haughton_Forrest_(1826-1925).html’, is an ‘ANSI art’ version of a painting by Haughton Forrest, an Australian colonial artist. Australian colonial artists represented the unique landscape of their new surroundings using techniques and ideas they learnt in Europe. These techniques made the Australian landscape look European and helped the artist to portray their surroundings as less intimidating and scary for these recent arrivals. These artists also pretty much ignored the Indigenous people, by erasing them from the landscape, or depicting them as ‘noble savages’, by romanticizing the destruction of their culture. ANSI is a coloured version of ASCII, and was popular on bulletin board systems in the 80s and 90s. The works are pixelated and abstract in appearance, with colors that appear to be unnatural, synthetic and acidic. The conversion of the image using ANSI is a transformative strategy that represents a metaphor for the transformation of the landscape through climate change, racism and societal concerns that never seem to be resolved or improved. The never-ending cycle that humanity plays out, without resolution. We are stuck in an in-between place.