Susan Andrews

Three, nine, twelve

September 19th – October 11th, 2025

These object-based paintings question traditional pictorial conventions by treating the surface and its support structure as integral components in the development of the work. Three, nine, twelve celebrates the physical reality of painting as constructed object, where painted edges, gaps, and support systems become active participants in the visual dialogue, interacting with the viewer and architectural space of the gallery. I’ve been questioning the rationale of conventional painting: by not painting the edge or sides of the painting defines the parameter of pictorial space, confining the viewer to look and view the work while positioned from a single viewpoint. The title of this exhibition reflects the measured spaces/gaps in both the top, bottom and sides of each painting. 

Two twentieth century post-WW2 artists, Lucio Fontana and Imi Knoebel, remain influential in the development of my work. The Argentinian/Italian painter Lucio Fontana created flat monochromatic colour painting, then slashed and perforated the surface of his canvas to reveal the limit and limitlessness of space. While Imi Knoebel’s paired down formal vocabulary of painted plywood, aluminium and paper constructions create deceptive spatiality through his haptic use of colour. My work pays homage to both artists’ works while extending upon their knowledge of abstraction as an enquiry-based practice. The evolving language of abstraction continues to encourage considered observation, reflection, memory, colour and spatial investigation, while not forgoing the complexities of one’s lived experiences.

Colour is elastic and remains an important element in the work. I explore colour to reverse perceptions of proximity and distance, weight and lightness. The language of colour can also be emotive, its often shaped by our cultural and social lived experience, memory and perception. The works in Three, nine, twelve invite the viewer to contemplate, interpret their imaginative response and meaning to the work. The exploration of colour within this framework takes on heightened significance, it doesn’t merely sit on the surface but interacts with both the viewer and the architectural elements.  Painted edges and gaps create spatial shifts with each viewing angle. Structural necessity becomes aesthetic opportunity, space becomes multidimensional.

Image: Pink Box and Prop, 2025, Synthetic polymer, marble dust on marine ply, oak, 141 x 40 cm, @sliversalt_photography