Wednesday, 25 November 2015

Sliding into Slip Cast ceramics

In the middle of this year, after saying goodbye slowly, life and time seemed to opened and through a series of chance encounters, I found myself at the Ceramics Triennale meeting Agneiszka Berger seeing her whimsical works. One evening, the ANU ceramics students put on a fun public art installation inviting us to paint in slip.

painting in slip at the Ceramics Triennale

I have played in paper clay creating small installations like my "Wish Bowl" and have used it at the Day Retreats and even to visualize paintings, but it's been a long time since I took classes and put clay through a kiln. So on my return, I contacted the Ceramics Department at NSI still affectionally known by it's previous name Brookvale Tafe.

I’d been to an end of year student exhibition some years ago to see Diane Oliver’s poetic works and I thought there might be a short course I could take. The college offers several courses that extend over a number of years, but it’s also possible to take classes by the term on different techniques. Within days I dived in and was fully submerged in plaster learning a method of making ceramics out of molds, also known as Slip Cast.

Seeing how this technique creates multiples of similar forms, I sensed my Hearts might be an ideal project to explore. Being small and many, hearts would also allow me to learn a lot in a short time about ceramics. So, with assistance from the very helpful staff, I made three moulds of different shapes and sizes.

creating two part plaster molds 


filling the plaster molds with liquid clay known as "slip"

As some of you may know, Hearts have become an ongoing symbol in my work, not intentionally, but intuitively. I find them an easy metaphor for illustrating both the inner and outer worlds and each year from Valentines Day to Mother’s Day I focus on my “Heart to Home” season of art.

Through this approach, I have created a series of illustrations in a variety of mediums which I loosely call "The Journey of Little Big Heart". Hearts are also an integral part of my "Coffeeosophy" series of sketches which I am currently working on in printmaking. There’s something about hearts that traverses dimensions and I’ve really enjoyed exploring in clay and allowing iterations to take me in different directions.



modelling the cast hearts, carving and hand-building 

Joining and then not joining the two halves of the molds, closing the holes, painting and carving, I began to play and created a variety of stories in clay. It was fun to see what worked, learning the steps of putting them through the kilns, adding colours and glaze as I went along. I am sure there are faster ways to create, but sitting each night pottering away has been a complete delight. It's also been a huge learning curve!

hearts waiting to be fired in the kiln

So far I have made over 100 hearts. Initially I dreamt of making 1000, like Sadako and the 1000 paper cranes, creating a Wishing/Love Tree or leaving a trail of hearts for others to find like I did for Free Art Friday. Like Hailey Batholomew's Finding Love, I find things like that quite enchanting.



allowing hearts to gather loosely into series clockwise from top left: 
"sweet hearts", "heart village", "hobby hearts" and "open hearts"

Then again, maybe it's nice to simply embracing the moment. Seize the opportunity life has given me to make, to learn new techniques and to meet and work for two days in-person with some amazingly creative people. The classes are arranged so that students of different levels are often working alongside each other. It's been a wonderful opportunity and I want to thank many of the more experienced students for opening my eyes to what's possible.

mixing up a batch of slip to take home!

I've also made a slip cast copy of my mother's Gripstand mixing bowl and in the next term of Slab Forming, I created a vase and some boats from my Dreaming series. I also played with ideas from my paper art, but I’ll save those for other posts. Ceramics certainly is a slow art, which is why I haven’t shared much until now, but it’s an art that easily slips into your heart ... and into your shoes!!!

If you would like to see my hearts for yourself, come along to the Student Exhibition open 10-4pm Wednesday 25th November until Friday 4th December, it's always a great show. If you'd like to see more of what students create, you can visit the college's website, facebook page or the student's facebook page.

Thanks for stopping by, hope you enjoyed reading.


Sunday, 22 November 2015

Keeping Company: Saltwater

It's been a wonderful opportunity to participate in Keeping Company: Saltwater at Manly Art Gallery and Museum. Saltwater is a theme closely aligned to a large part of my work and I have certainly grown through the experience from the initial submission, briefing meeting, final concepts, selection, preparation of catalogue details and hanging to the Artist in Conversation event. 

As a way to help other artists, here is a behind the scenes view of the process and what it's been like to participate, I do hope it inspires some of you to dream big and venture beyond the shores of where you are and what you are used to.  

The initial call out for expressions of interest from the gallery came in January: 
"artists working in all media, including digital media, painting, drawing, printmaking, textiles, sculpture, glass and ceramics" ... 
... "are encouraged to explore their own interests in the exhibition concept: saltwater as an idea, a metaphor, a place, a possibility and as a grand cultrual presence within this region and beyond. Through art we can explore old meanings and create new ones, using various forms of imagination to delve further into the depths of saltwater"

I immediately identified with the theme and even though it's been some years since I exhibited and this was a public gallery, I dived in and in May I sent off my initial submission: 
Each Summer for the past six years I have undertaken a personal art project 1000 words for Summer as a way of observing and connecting with the landscape and culture that surrounds my studio at Avalon on the northern beaches. Over the years, I have incorporated many mediums from drawing to painting, photography to film as well as textiles and community art both online and in the community.   
For the past two years I have concentrated on working alone, sketching en plein air, primarily at the beach using a variety of media and frames of view.  
In the Summer of 2014/15 having recently taken online studies in Urban Sketching and Storytelling with Melanie Reim and Veronica Lawlor in the USA as well as previous studies in Children’s Book Illustration and seeing Fiona Verity's sketchbooks at the Artspot Exhibition in January, I filled a Summer Sketchbook with over 84 pages of coloured pencil and gouache sketches, moving away from pen and ink towards a limited palette.  
The effects of both a single sketchbook, a limited palette and media as well as positioning myself right at the waterline, in amongst the beach goers, surrounded by the frenzy of activity had an amazing impact both on me and on my art. 
The more I tried to sketch children at play, the more I saw the interactions between people and place and instead of doing static studies what eventuated were free moving reportage accounts of the day. Overlapping figures, movement of flags, people, the sea, seagulls, the heat and the breeze.  
As David Hockney says:  

“If you look at things with a pencil and paper in your hand, 

you are going to see far more.”   
You can read more about the experience of creating this sketchbook in the post I wrote on my blog 1000 words for Summer Year 6 - summer sketchbook. 
At the start of 2015, on the recommendation of local printmaker Lisa Marshall, I commenced a class at Warringah Printmakers with Susan Baran to learn how to make solar plates as a way to experiment with some of the sketches from my Summer Sketchbook.  
The combination of the textural effect of the coloured pencil and gouache originals as well as limiting the colour palette further to monochromatic blue, is transforming the images. The further I go with this project, the more I have let go. It is no longer a personal observation or reflection, a record of time and events or of place. As I let go of trying to capture a particular beach, reference to the northern beaches, to Sydney or Australia, it has become a universal story of a Summer spent at the beach. A life lived by saltwater.  
Being included in the Saltwater Exhibition would allow my sketches to be viewed in a way that a hinged sketchbook restricts. It would also allow them to evolve into a completely new medium of printmaking. I am interested in creating solar plates of other sketchbook pages and exploring the possibilities of creating a series of prints to exhibit or possibly creating a book.  
I am also interested in combining photography and artworks from other parts of this project into a short film depending on space and facilities available in the exhibition.
I included two images with my initial submission: 

photo of on location sketching

initial experiments with "solar plate" printmaking

After a Briefing Meeting at the gallery in May with many of the interested applicants, I submitted my Concept, Images and Ideas in early June:
My concept is to create a series of six solar plate prints of sketches from my Summer Sketchbook. They are an exploration of people at play by the edge of saltwater. Everyday scenes of life by the sea, holiday makers, children at play, lifeguards, couples, families, surfboards, images that capture the vitality and atmospheric quality of a day at the beach. 
I have not yet decided on a title for the works, whether they would be individually titled or numbered as part of a series, but Playing on the edge of Saltwater, Where people play, or simply Beach Play or Prints from a Summer Sketchbook, are possibilities.  
I am a participant in the international Urban Sketching movement, a contemporary revival of en plein air movement of the impressionist era. Their manifesto is to - draw on location, capturing from direct observation, telling a story of a time and a place and being truthful to the scene. The sketches are about capturing life as it happens, reportage as it is also know. Having originally taken lessons from Liz Steel at Erin Hill studio’s in Manly, I have gone on to learn techniques from many others overseas including Melaine Reim and Veronika Lawlor whilst also adding to my own experience as an artist and Landscape Architect with a postgraduate in Tourism and the six years I have undertaken my 1000 words for Summer project. 
Now as a printmaker at Warringah Printmakers I am learning how to use the energy from the sun to transform these images into a series of artworks in monochrome. In doing so I am taking something that is a part of everyday life on the northern beaches of Sydney and turning them into a universal story of life lived by saltwater. It is this additional step, transforming them from my sketchbook into a print, that invites the viewer to inhabit the scene, evoking their own relationship and memory of playing by the sea.
Exhibition Layout - see also 2 attached elevations  
I proposed to submit 6 mounted solar plate prints. Each 210x150mm print would be mounted onto A3 (420 x 300mm) The six prints would be hung in two rows of three to create a landscape feel but could easily be displayed vertically depending on space in the gallery. The images invite a close inspection rather than needing to be seen from a distance.  
An optional addition to exhibiting the prints would be to display the sketchbook which was the original inspiration for the prints. If so, I would propose placing it on a shelf or plinth with a protective perspex case. Exhibition Sales I would like to offer each unframed mounted print for sale for $285 each. Should the gallery required them to be mounted I would need to charge an additional cost.  
Exhibition Program:
I would be willing to conduct a sketching event as part of the exhibition program for adults and or children as required outside the gallery or looking through the gallery windows.  
I have attached some photos of the solar plate prints as they would appear on mount board and the sketchbook as it might be displayed. I am quite flexible on the number of prints and layout for the exhibition. 

In mid June, I received the news that I was one of 45 selected artists from 96 applicants.

Then, for some months I simply played, photocopying pages from my sketchbook, laying them out, selecting them for their graphic quality, honing and selecting the sketches to print. Learning the "solar" or photopolymer printmaking process, exploring ways to capture the sketches and various ways to ink up the plates. 

In August, I wrote a blog post "Adventures into Printmaking" about the printmaking process I was engaged in and shared the exciting news of being selected into the upcoming exhibition.

By early October, the 84 pages in the sketchbook had turned into 12 transparencies, then nine plates and finally after creating numerous prints in a variety of blues, the nine prints turned into six. Sitting, looking at the images, it was the children who stood out in the scenes as a linking theme and the final six prints seemed to call out "pick me"! Two of the other three had seagulls as central characters, so I am wondering if they might become another series. 

The process of culling, preparing and creating the plates and selection of colour over the cooler winter months was interesting. This was a project that up until now, I had only worked on in summer. By then I was working on my Winter Sketchbook, absorbed in the darker blues, but I knew that come November the weather would warm up, the seas would get lighter, so I went in search of a Summer Blue. Chance would lead me to be accepted into Studio Access and after initially selecting Ultramarine Blue, I finally settled on Ocean Blue aqua wash ink.

In October, with six prints in hand, I sent off my Catalogue Details and ideas for the Artist in Conversation:

Artist Name: Suzi Poland 
Title of Work: Prints of a Summer Sketchbook  
Medium, Dimensions h x w x d cm:  
Prints: 6 prints 25cm x 35cm each total height: 60-70cm approx with 4-5cm space between total length: 1.2-1.3m approx with 4-5cm space between fixing: the six prints are loose sheets to be attached to wall at the top (of the back) with removable 3m tape (supplied) layout plan:  
Sketchbook: Total length: 50cm Total depth: 20cm Display layout: sketchbook open on this page (marked by yellow post-it)  
Price: $1200 suite of six or $250 each  
Artist Statement (100 words)
Each Summer, for the past six years, I have undertaken a personal project "1000 words for Summer" as a way of capturing the essence of summer where I live.  
Last summer, sitting at the beach, in amongst the swimmers, surrounded by the frenzy of activity, the sea, the heat and the breeze, what emerged were free moving reportage accounts of the day.  
In creating solar plate prints of the sketches, the tonal effects of coloured pencil and gouache has been transformed by the ocean blue ink. No longer my personal observations of a specific time or place, they have become a universal story of childhood lived by saltwater.  
Images - see 6 jpeg attached files plus image of sketchbook  
Artists in Conversation:
I would be happy to be involved in this part of the exhibition. Not only will it be of benefit to me to participate and hear back from the audience, but it will allow me to share what I have enjoyed about creating this artwork for the exhibition: 

  • the benefits of a personal project as a way of creating art 
  • the benefits of getting closer and closer to a subject 
  • the benefits of working seasonally, revisiting a subject over several year 
  • the benefits of mixing mediums as a way to explore a subject the process of solar printmaking and selection of images to print 
  • the transformation of taking them through the printmaking process 
  • how this exhibition has helped focus the themes in my art 
  • how this exhibition will influence my art making next summer 

the six "Prints from a Summer Sketchbook"

Throughout the process I kept in contact with Lisa Marshall, one of the other selected artists and people I'd met at the printmaking studio. I also kept in touch with art friends online who are always a huge support and well as pursuing my other art making projects, in the weeks before the opening I attended a series of grounding classes and joined an online art course.

I find it invaluable, especially at times like these. to balance the role of art in my life and my role as an artist in the world, it helps reduce the pressures, especially when working alone. This was after all, my first exhibition outside my local community and my first ever in printmaking.  

A few weeks before the show, I came across an article from the Textile Artist blog "Before you can find an audience you have to know what it is your selling" or "Finding an audience for your art" and took time out to write down some thoughts on what I wanted from the experience.

I would like the viewer to feel the freedom and looseness of Summer, the playful nature of time spent by the sea, the fresh air and fun of the waves breaking at the edge, the heat and haze and craziness of a busy day at the beach. If not now whilst viewing, then later when sitting on the beach in Summer.  
I would love them to feel the feel of an Australian summer, a summer spent between the flags blowing in the breeze, the cool crisp north easterly wind blowing each afternoon, the salt crust on their skin, the squinting of eyes and the scent of freshly applied sunscreen. The squeals of children as they play carrying buckets of water to pour over the sand, the freedom and fruitlessness of building sandcastles, elaborate structures only to see them fall down, wash away, then to do it all again tomorrow, the next day and the day after.

I want them to feel the feeling of never-ending that lasts for those few days over summer holidays, when we completely relaxed and days join like sand in the hourglass and pass without us noticing. That time in the year when we seek repetition because it’s a repetition of all the things we love, it’s a settling into our core, who we are, how little we need and how much we can achieve by doing nothing at all. How pleasurable it is to uncomplicate our lives and simply connect with those we love.  
Yes, yes, this is how I want the audience to feel for a few moments whilst they look at my art. That is why I’ve shared the sketchbook and kept the prints as loose as I can. Here in this exhibition, where formalities of mounts and frames are not necessary, I want these six images to sit like placemats on an outdoor table, white, crisp and light in the bright sunlight or at a bbq on dusk. I want it to be like a diary of the six days in-between Christmas and New Year, the one time of year when it’s ok to switch of and completely chillax.  
Yes, if I can, for a moment create that in just one viewer, I will be happy. It’s not about me, the sketching or the printmaking really, it’s about seizing the opportunity to be aware of our surroundings, what makes us happy and what we wish could go one forever. Like memories of our happiest moments in childhood, I want these to be snapshots into who we were, who we are and who we can be.  
Professionally I’d like to find other creatives who are interested in creating the same playful feelings in the viewer. Not simply trying to tell their story or create an image of what’s out there, impressions of the sea, but creatives who are interested in having an effect on the viewer. Magicians, not tricksters, with the kindest of intentions, gently lifting the viewer and carrying them towards their dreams. A kind of sophisticated Disney effect, DreamWorks, a mixture of art and tourism where the places and people you discover are wonderful worlds to inhabit. Where painful emotions are acknowledged and traversed but rather than dwelt on, there is hope and rather than fear there is calm, captured in the simplicity of the work.  
Like the child wrapped in a towel, with parents looking out to sea. or the girls asleep on the bench, I want a sense of belonging, a sense of connection as much to the land and the place as to it's people and my own inner daydreams. A way to get back to the centre, a way to be content and calm. Alone in the crowd and together in art.

Yes that’s what I want!

Opening Night was more than anyone expected. Combined with the opening of the Advance Diploma of Ceramics exhibition, the crowds were huge and the hot evening air made it overwhelmingly busy.

The prints hung just as I envisaged but my sketchbook was positioned close to the wine bar and it was clear people were turning the pages. I had intended for it to be left open on a particular page which related to the prints and with delicate gouache that might fall off, I was happy to accept the curators offer of an easel and a "no hand" sign on the pedestal.

It's been an interesting experience to leave a treasured possession in a public place, an intimate book that captures a personal journey through time and space. 

participating in the Artist in Conversation event

In the middle of the exhibition, I was part of an Artist in Conversation event and it was interesting to meet, see and hear some of the other artists talk about their artworks they created for the exhibition. It was a great opportunity to share my ideas, processes and the joy of creating the works and I arranged for my talk to be filmed.


I am very grateful for being selected, the opportunity of seeing how artists get their work out there, shared, seen and hopefully sold. It's been a huge learning curve and with a week still left of the exhibition, I am sure I will gain more from the experience. In the hours in-between, I have even begun playing with a few of the spare prints that didn't make the cull, painting them in colour and so, as this next summer approaches, I await to see what reflections and new energy this exhibition will bring. 

Did I panic throughout? I can honestly say, there were no last minute rushes, although cracking my tooth in a fall on the way to the Artists in Conversation wasn't fun. I firmly believe in doing what you love, following your heart in making your art, committing to the work and inviting synchronicity in. When that happens things seem to hum their tune, inner guidance shows up and the right opportunities and people come along. It becomes a magical mystery tour, and things flow smoothly, at least that's how it's been for me. 

From the first time I heard about this exhibition, it's been joy to be part of. I have much to be thankful for and many to thank and I hope sharing this here inspires others and that one day an opportunity like this happens for you too. 

Many thanks for stopping by, I hope you've enjoyed reading. 

Keeping Company: Saltwater is on at Manly Art Gallery and Museum, Sydney until 29th November 2015.

Saturday, 24 October 2015

Like a little Kindness with your coffee?

I've heard of them, but never seen one. I've also heard about people paying it forward in cafes overseas. I've even participated in Free Art Friday, but never been on the receiving end. So it was special, yesterday when I went out to the cafe and was welcomed by the barista who said "Hi, No need to pay for your coffee today!"

Apparently the person before me left a Kindness Card so of course I had to sketch it, with my coffee. What a lot of love there is going around this little town. Not mine, but the suburb next door. Wow! I decided to stay for a while at the Flying Pig Cafe, Newport and take in the ambience, experimenting with some new techniques of sketching I'm learning in Cat Bennett's - Make Art a Practice eclass with Carla Sonheim.

As those of you familiar with my Coffeeosophy coffee sketches will know, I've been sketching in cafes for a while. I even did an earlier sketch of this cafe when it was Flamingoes and Dingoes. What some of you may not know is, I worked on the streetscape design as well!

Yes, in 1997 as a Landscape Architect with Pittwater Council, I worked on the streetscape improvements of Robertson Road. Back then, the cafe was The Sewing Basket and I worked with engineers and another landscape architect turned ceramicist Amanda Kelso to create mini murals on the seat walls that surround the seating terraces. I also learnt to paint ceramic plates in Jane Stitt's studio that was in the arcade. Now she creates beautiful hand painted cushions.

Over the years many of the shops have changed, but this little street still retains it's charm.

There was certainly no guessing then that this would happen to me now. I guess there never is. I am really grateful to whoever paid for my coffee. Thanks also to whoever came up with the idea of Kindness Cards because I am going to enjoy paying it forward as well!

Has anything like this happened to you? Love you to share in the comments below.

Monday, 12 October 2015

People Sketching at Balmoral with USK

Warming up again, after a winter off, it was a fabulous day on the October Long Weekend to go people sketching with the Sydney group of Urban Sketchers. Part of the international Urban Sketchers, they meet regularly in various public places. It's a really fun way to meet other people who love to sketch. 

Last month we met at the Sydney Botanical Gardens and several others who were lucky enough to go to the USK Symposium in Singapore, shared with us some of what they learnt. This time, rather than doing one sketch, I decided to do several vignettes in a small square Hahnemule 140gsm sketchbook. 

I used mainly my two Lamy pens with Extra Fine nibs, one a Safari with Black DeAtramentis Document Ink and the other a Lamy Calligraphy pen with and Fog Grey DeAtramentis Ink. 

Sometimes, like the sketch above, I add a splash of colour to the page before I start with ink, other times I sketch purely in colour. The colours I used for the sketch below were a mix of water coloured pencils although I've found that, unlike my Summer Sketchbook, this one doesn't take water very well. Wow, there really were a lot of people! 

All up we sketched for about an hour and a half and met together at the end to share our work which is a an activity Urban Sketchers love to do. Share but not compare is the groups motto and it's always interesting to see what others choose to sketch and what techniques and mediums they use. 

If you would like to join in an Urban Sketching event near you, simply look up the Urban Sketchers International website. If you are in Australia, there is an Australian USK Chapter website or you can join the Australian USK facebook group.

You can see more of my sketches from other USK events here and prints of my Summer Sketchbook will be in the upcoming Saltwater Exhibition at Manly Regional Gallery 30th Oct - 29th Nov. 

Thanks for popping by. See you somewhere sketching!

Other posts about Sketching at Balmoral:
Sketching at Balmoral - Rotunda and Beach
Sketching the Balmoral Boathouse - Boathouse and Pool

Friday, 4 September 2015

The Custodian Project

Spring cleaning my blog, I realised I never wrote a post about a collaboration I participated in earlier this year with Alex Falkiner aka Alfalky who I met when Sketching with Thread.

A creative exchange working alongside 13 other participants from around the globe, The Custodian Project was intended to be an experiment in creative intimacy and trust, involving each of us hosting one of Alfalky's creations for two weeks and creating a response.

My response to the experience was to take a series of photographs of my creative interactions. Later I created another of my Steller Stories which you can see by clicking the image below.

As always, what seemed simple from the start had some profound effects and I certainly learnt a lot about collaboration as a way of creating art and also about being a custodian.

It's interesting to reflect from this distance and see that amongst other events this year, this project inspired me to take some classes in ceramics and that mixing art with textiles and other mediums, crossing disciplines and forms, is inherently within me and it is something I need to continue to explore.

I do hope you enjoy the story as much as I enjoyed creating it. After clicking this link, remember to flip the pages like a book by clicking the little arrow halfway down the image.

Wednesday, 2 September 2015

by the sea

From Summer Sketching to Winter Dreaming, illustrating, writing poetry, photographing, filming my Minutes by the Sea creating textiles or printmaking, the watery world where I live provides endless inspiration and source of restoration. Growing up with a father at sea, traversing the ocean as a child and now living close to it's shores, I've come to realise it has become part of me. It's vastness is the void that I need and it's seasons and tides, rhythms and moods are an endless source of creativity. 

Now that prints of my Summer Sketchbook will be on exhibition as part of Saltwater, Manly Gallery, Sydney, 29Oct - 30Nov, 2015, it seems timely to create a catalogue of blogposts inspired by 
the sea.

Sketching the sea
Illustration Friday - Storm sketching 2013
Before the Storm watercolour sketch 2012

Sketching Seagulls
Seagulls by the sea photo, film, sketch, poetry 2013 
Sketching Seagulls by the sea 
sketching, photography, filming 2014
Sketching Seagulls, a stellar story sketching, story 2014

Sketching the Northern Beaches of Sydney
Sketching the Balmoral Boatshed 
sketching, ink and painting 2014
Sketching at Balmoral sketching 2013 
Winter by the Sea sketching, poetry 2013 

Sketching Summer by the sea
Adventures into Printmaking 
sketching, summer, dreaming, doodling 2015
Summer Sketchbook 
sketching, summer, photography, art practice 2015
Beach Sketching on Friday Afternoon 
sketching, photography, film 2014
Play is a fun way to make art 
art making, sketching, filming, summer 2014
Summer Beach Sketching beach sketching 2014
Saying Goodbye to Summer beach sketching  2014
Sketching People at the beach people sketching 2014
1000 words for Summer Year 5 - heading back 
photography, sketching, poetry 2014
1000 words for Summer Year 5 - finding courage 
painting, filming, sketching 2014
1000 words for Summer Year 4 - be ready! 
sketchbook project 2013
1000 words for Summer Year 4 - summer wrap 2013 

Winter Solstice poetry doodling 2015 
photography, filming, sketching, painting 2014
Winter Dreaming painting, intuitive drawing, poetry 2014
painting, film, poetry 2013
paint, film, sketch 2013
More Winter Dreaming - intuitive ink drawing, poetry 2013
heading back to the shore painting, illustration 2012 
sinking not drowning poetry, painting 2012
get saturated poetry, painting, art practice 2012

Winter Dreaming painting, intuitive drawing, poetry 2014
Creative Alchemy photography, philosophy 2014 
Crossing over painting, poetry sketching  2014
photo, sketch, poetry 2014
painting, film, poetry 2013
stay for a while poetry, illustration, whales 2012 
sinking not drowning poetry, painting, art practice 2012 
get saturated poetry, painting, switching off 2012 
dipping toes in poetry, photography, dolphins 2012 
see how currents flow poetry, photo, mermaids 2012
observe before diving poetry, photography 2012

Winter by the sea
Winter Beach sketching, poetry 2015
Late Winter Dreaming sketch, doodle, photo 2014
Mid Winter Dreaming photog, film, sketch, paint 2014

Illustrations of the sea
The Secret Project #4 ink + watercolour illustration 2014
The Secret Project #3 ink + watercolour illustration 2013
Five ways with water sketching, illustration 2012

Illustrations of ocean animals
Illustration Friday - Underwater watercolour painting 2013
The Secret Project #3 ink + watercolour illustration 2012
heading back to the shore painting, illustration 2012 
stay for a while poetry illustration, whales 2012 
sinking not drowning poetry, painting 2012

Hearts by the sea
Illustration Friday - Swim gouache illustration 2013

Winter Sun poetry, photography 2015
Winter Wandering photography, poetry  2015
Winter Weekend poetry, photography, art practice 2015
sketching, photography, art practice 2015
sketching, photography, filming 2015
sketching, stellar stories 2015
photo, filming, sketching, painting  2014
City Country or the Sea photography 2014 
The importance of play photo, play, art practice  2014
Creative Alchemy photography 2014
summer by the sea 2014
photo, sketch, poetry 2014 
photography, filming 2014 
sketch, photo, doodle 2013
dipping toes in poetry, photography, ceramics 2012 
freedom to float photography 2012 
see how currents flow poetry, photography, mermaids 2012 
observe before diving poetry, photography 2012

"minutes by the sea" 
Minutes by the Sea - still sunrise film, death, loss, sea  2013 
photo, sketch, film 2012
another minute by the sea film, green pool manly 2012

full moon “minutes by the sea”
Minutes by the Sea - Easter Moon film, full moon 2013
Minutes by the Sea - Avalon Moon film, full moon 2012

Instagram films
Sketching Seagulls a stellar story sketch, birds 2014
Sketching Seagulls by the sea sketch, photo, film  2014
Mid Winter Dreaming photo, film, sketch, paint  2014
Three films by three daughters photo, film, creativity 2014
courage film 2013

Adventures into Printmaking sketching, doodling. 2015

Summer Sketching textiles, sketching, courses,  2015
Late Winter Dreaming sketch, doodle, photography 2014
Minutes by the Sea - Easter Moon film, full moon 2013
layering up textiles, photography 2012

dipping toes in poetry, photography, paper, ceramics 2012

BLOG series
compilation of all the summer works 2014 
sketching, photography, collaboration 2013
12 part series, diving deep over winter 2012

The Moon by the Sea
Blue Moon catalogue of blogposts inspired by the moon 2015

my other ways with the sea can be found on:

Pinterest aqua
Instagram suzipoland