stories
the privilege of painting
a bit about how i paint
discoveries
Each painting has its story; where the image originates, what compels the artist to create it, how the painting unfolds…
and the discoveries made during the process. Just a couple examples from past work.
Breton Cove Breaker
24 x 24, Oil on birch panel
Award Winner – In May 2019, this painting was selected for the worldwide International Art Magazine Seascapes, Rivers and Lakes competition and was awarded third prize!
Inspiration – Along the Atlantic shore of Northern Cape Breton Island, the ocean is sometimes relatively calm, but large waves form and crash close to shore. In early autumn mornings, the cool air and low angle of the sun combine to create breath-taking contrasts. Breton Cove Breaker attempts to capture the light and energy of these incredible waves.
Design – Visual tension is created by containing a dynamic subject in a static square area, and placing the horizon line uncommonly close to the top of that area. Flowing circular elements lead the eye up through the brightly lit water to the peak of the wave, yet the underlying structure is a rigid, classic division of thirds. The design is strengthened by a colour palette of vivid yet cool pigments.
Process – A graphite drawing on gessoed birch panel. Main areas blocked in with light washes, focusing on establishing contrast. Details rendered with smooth directional brushstrokes. Multiple glazes darken the shadows to further support the highlights. Pure white and harder edges finish off the focal point. Lastly, adding splatters and splotches of white spray – that’s the really fun part!
Low Tide, Toney River
48 x 36, Acrylic and Oil on birch panel
Inspiration – Beautiful metallic copper effect of refracted light in shallow rock pools at low tide. While trying to get close enough to photograph an eagle, I failed to notice the Great Blue Heron watching ME patiently close by!
Design – Dual subject matter: shoreline rocks and water are the strong visual, yet subtle arrangement of rock edges and light lead up through the left to the heron. Strong visuals pull in a diagonal from left to right, and towards the bottom corner; both intentional distractions from that centre of interest.
Process – Outline drawn on gessoed birch panel. Modelling paste used to create dimension on rocks, then painted with multiple glazes to catch texture. Both steps repeated numerous times to build up the surface. Wet areas treated with iridescent medium and copper flaked paint; both effects only apparent with angled light.
(Hard to represent with digital images!)
And, here's a bit of my own story....
Susan Cockburn’s work is inspired by direct experiences in nature, discovering images that compel her to present a unique perspective; vivid contrast; energetic motion; a moment’s stillness. A sudden awareness that says “Stop – Pay Attention! …and how would you paint this?” Trying to convey and share these experiences is the underlying objective of all her work.
Having always had an innate ability to draw well, Susan began creating art a very young age, but is self-taught as an artist. Her early work focused on detailed realism, whether executed with pencil, pen or brush. More recently, stronger use of colour, techniques that enhance surface texture, and experimentation with painting mediums, have developed into more expressive results.
Value, texture and colour are the important elements in her work. Value conveys the light that inspires the images; texture is used to enhance 2-dimensional surfaces that represent our 3-dimensional world; and strong colour – sometimes a drastic shift from the original scene or object – brings the work to life.
Susan’s professional background in Graphic Design and Illustration also plays a role in her painting process. Reference photos and quick concept sketches are done on location. Back in the studio, digital sketches are created by combining photos and exploring the best aspect ratio for the overall image. The underlying grid or structure of the resulting composition is adjusted, and the focal point(s) placed accordingly. Finally, a colour palette is chosen to best support the design and concept of the piece.
Susan’s painting Breton Cove Breaker won 3rd place in the International Artist 2019 Seascapes, Rivers & Lakes competition.
A feature article in the Fall 2019 issue of American Art Collector described her work as “Unbridled Nature”.
Originally from Ontario, Susan has relocated to Cape Beton Island, Nova Scotia to fulfil a long-held goal of living closer to the natural world that inspires her work, and in spring of 2023 retired from her career in Graphic Design/Information Architecture to focus on painting.