We’re excited to introduce you to the always interesting and insightful Sue Martin. We hope you’ll enjoy our conversation with Sue below.
Sue, appreciate you joining us today. Did you always know you wanted to pursue a creative or artistic career? When did you first know?
I knew from high school I wanted a career in the arts. At that time my passion was theatre. I loved painting, too, but I didn’t think I was good enough to pursue it. After earning an MA in Directing and Acting, I took a detour to the corporate world for a steady income. “Just until I pay my school loans,” I told myself. After 23 years working in Public Affairs at Amtrak’s Washington DC headquarters, I finally decided it was time to get back to a more creative life.
I left Amtrak and moved with my family to Salt Lake City, UT. Within two years, I was auditing art classes at the University of Utah and taking workshops from nationally renowned artists. Ten years later, I was ready to call myself an “artist” and begin a second career as an artist.
Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers.
It takes a lot of courage to be an artist. Some find that courage when they’re young. Others, like me, find it when they have a lifetime of accomplishments behind them and think, “What have I got to lose?” At 50, when my kids weren’t quite so dependent, I began taking art classes and workshops. At 62, I enrolled as an art major at the University of Utah. At about that same time, I joined a co-op gallery and began teaching watercolor. I served on the board of Utah Watercolor Society, entered their shows and won many awards. I became a signature member of that organization and the Western Federation of Watercolor Societies.
Like many beginning artists, my early vision for my art was realism. I wanted to be able to paint what I saw. Working from life was a big part of my training, whether “life” was plein air landscapes, still life sets, or figures. While I owe much to that training, I soon realized that the process of painting realistically didn’t bring me joy. I loved exaggerating lines, shapes, colors, and painting intuitively. My artistic journey for at least the past 20 years has taken me back and forth on the path between realism and abstraction, searching for my happy place.
My work is always inspired by nature, whether it’s the natural world I’m in when I’m painting en plein air, or memories of places I’ve been. I paint what is near and dear to me: a series about my father’s dementia; another series about stories friends told about my mother after she died; and a series about dogs and their humans. Working in series, whatever the subject, builds momentum and meaning in my work. I don’t have to stare at a blank canvas and wonder what to do next; one painting naturally follows another. I learned early on that painting what I love, what has meaning to me, in the peculiar way that I see it, resonates with others.
I am a fearless experimenter. I love trying new media and techniques to create a layered surface that has depth and texture. I want viewers to see the brushstrokes, the drawing beneath the paint, the color and pattern layers below the subject. I most enjoy painting landscapes, but my portfolio also includes still life and florals, figures and dogs. My typical sizes are 8″ x 10″ to 20″ x 20″. I paint larger pieces (36″ x 36″ and larger) a few times a year, mostly for commissions.
I work out of two studios: one in my home in the Salt Lake City suburbs, and the other in Bogue Foundry, a re-purposed building in downtown Salt Lake, that contains studios, a gallery, and other creative businesses. I enjoy the energy of my shared studio and all the activity at Bogue Foundry. But I also love being able to work at home, especially when the weather is bad.
Teaching art to adults rivals my passion for making art. Beginning to intermediate watercolor classes are offered privately and through the South Salt Lakes Arts Council. I offer workshops independently and through arts organizations; Experiments With Mixed Water Media, and Painting With Oil and Cold Wax are my most popular workshops. It’s a joy to see people develop skills and confidence in painting. I have seen it change lives, as it has my own.
Can you tell us about a time you’ve had to pivot?
Perhaps because I spent so many years in the corporate world, I have always approached my “second career” as an artist from a goal oriented perspective. When I was younger, I had high aspirations to have museum exhibits, to be included in permanent museum or civic collections, and to earn a six-figure income from art sales and workshop instruction. I never wanted to make and sell prints of my work or market greeting cards for extra income. Instead I’ve focused my energy on the constant improvement of work quality and creative concepts, refusing to be “typecast” into a particular genre or style. If I am painting what feeds my soul, I expect it will resonate with certain collectors. Perhaps I’ve sacrificed some income producing opportunities along the way, but I need to be true to myself and my vision first. Authenticity is important.
As I get older (mid-seventies now), my goals haven’t changed, but slight physical limitations provide a realistic lens through which I set annual goals and visions. In other words, I’ve slowed down just a bit. Instead of traveling to five plein air events, I might do just three. Instead of teaching five workshops, I might do only two. I’m learning to accept this reality, and I envision the ways art making will continue to be my life focus. I’m thankful we artists don’t have to retire! I hope to be painting until the day I die.
In your view, what can society do to best support artists, creatives and a thriving creative ecosystem?
A healthy creative economy is good for creatives and their communities. I’ve seen this working when cities invite artists into run down areas and subsidize studio and gallery spaces. The studios and galleries attract visitors, making the area attractive to restaurants and developers. Unfortunately, soon pricey condos price the artists out of the area. Artists are forced to move to the next run down area, and the cycle continues.
What we artists need is some sort of rent stabilization so that our studio spaces are sustainable over time. Perhaps gallery owners need similar consideration. I’ve seen so many galleries disappear, first during the recession and, more recently, during the pandemic. Yes, there are more online marketing/sales options for artists than there used to be, but the in-person connections with collectors are essential to grow a following, especially if your work is in higher price brackets.
I wish more cities would establish arts districts that are sustainable for creatives and walkable for visitors. My own city – Salt Lake City, UT – has a monthly gallery stroll, but the galleries are so spread out that it’s impossible to stroll. Arts districts are good for tourism, too. When I travel, and I know I’m not alone, I research art events, gallery openings, and museum exhibits in advance, and if I can find these opportunities in a defined area, it’s a huge convenience and a lot more fun.
You can check out what we’re doing at Bogue Foundry at our Open Studios, Dec. 1-2. More information @suemartinartist.
Contact Info:
- Website: https://www.suemartinfineart.com
- Instagram: @suemartinartist
- Facebook: Sue Martin Fine Art