We were lucky to catch up with Sue Beyer recently and have shared our conversation below.
Alright, Sue thanks for taking the time to share your stories and insights with us today. We’d love to hear about a project that you’ve worked on that’s meant a lot to you.
Currently, I am a PhD candidate working on my thesis project. My fascination with the ‘magic’ of computers, programming, and the internet began in my teens. From the moment I first encountered computers, they took on a metaphysical quality for me, suggesting that if you asked the right questions, all the answers could be revealed.
I completed my first degree in Graphic Design in the mid-1990s, during which I learned to write HTML from scratch—my favorite subject at the time. I then spent over 10 years working in design consultancies and advertising, mastering tools like Adobe Photoshop, Illustrator, and web technologies such as HTML, JavaScript, and Macromedia Flash and Director.
Feeling disillusioned by the advertising industry, I returned to university in 2007 to study Fine Art. Initially, I focused on painting and printmaking, but during a study exchange in San Francisco, I took a class called Conceptual Strategies taught by hybrid media artist Paul Catanese. It was here that I was introduced to physical computing and new media, which became integral to my art practice.
In 2018, I completed my Master of Fine Art at the University of Melbourne. My MFA work explored liminal space and transformation, using the film Xanadu as a reference point. My final exhibition featured a diverse range of media, including electronics, physical computing, programming, painting, performance, digital video, and prints, all presented as individual pieces.
After my MFA, I continued to work across various mediums such as programming, painting, electronics, print media, and augmented reality. The challenge was how to conceptually unite these mediums in a cohesive way. In 2022, I discovered Claudia Hart’s genre of ‘Digital Combines,’ which offered the solution I was looking for. The concept of using instruction placed in the metadata of an NFT or blockchain smart contract as a medium to bind these disparate elements together resonated deeply with me, especially given my long-standing interest in instruction-based art, which has been central to my practice for over 15 years.
Sue, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?
My work takes an interdisciplinary approach, focusing on themes related to Instruction-Based Art, transformation, and the ‘in-between’ space.
From a young age, I’ve been captivated by the ‘magic’ of computers, programming, and eventually the internet. Early on, computers held a metaphysical quality for me, suggesting that if you could ask the right question, the answers were there. Since 2007, I’ve been using computers, microprocessors, and programming as an interface for transformation in my practice.
In my work, I combine digital, electronic, and new media with traditional media to create unified pieces or installations. These are what I call ‘Digital Combines,’ a genre introduced by artist Claudia Hart in 2021. Digital Combines are like 3D collages, merging physical, digital, and virtual objects, connected through instructions embedded in the metadata of a blockchain smart contract (NFT). My paintings, on the other hand, often appear pixelated and seem like close-ups of digital files, but on closer inspection, the imperfections in the lines reveal the presence of my hand as the artist.
I’m fascinated by how these disparate elements come together to create meaning through a kind of oscillation, which is central to the concept of Metamodernism.
Can you share your view on NFTs? (Note: this is for education/entertainment purposes only, readers should not construe this as advice)
When it comes to NFTs, my perspective is multifaceted, grounded in both opportunity and critique. As someone deeply engaged in Digital Combines—a genre that blends traditional, digital, and virtual mediums—NFTs represent more than just a commercial tool. They serve as a conceptual glue that holds disparate elements together within a single work, adding a layer of meaning and integrity. For instance, I utilize blockchain metadata not just for ownership but as a medium that informs how a piece functions or even transforms over time. This allows the artwork to oscillate between physical presence and digital representation, aligning with my ongoing interest in exploring liminal spaces and metamodern concepts.
However, I remain cautious about the speculative nature and environmental concerns that currently surround NFTs. As an artist who started in graphic design and evolved into hybrid media, my interest in NFTs is rooted in their potential to challenge conventional ideas of originality and authorship. They provide an innovative way to merge instruction-based art and the emerging discourse of metamodernism—a framework that reflects our complex cultural moment. In essence, for me, NFTs aren’t just a marketplace trend; they are part of an ongoing inquiry into how digital, physical, and virtual worlds intersect to create new modes of storytelling and artistic expression.
Do you think there is something that non-creatives might struggle to understand about your journey as a creative? Maybe you can shed some light?
One thing I’ve noticed is that non-creatives often struggle to understand why artists dedicate their lives to creating work that may not generate income. For many of us, the driving force isn’t about making money—it’s about the passion and purpose behind the work. I’ve experienced some pushback from former partners who didn’t quite grasp that mindset.
Contact Info:
- Website: https://www.suebeyer.com.au/
- Instagram: https://www.instagram.com/sue_beyer/
- Youtube: https://www.youtube.com/@suebeyer8820
