Sue in her warehouse studio at The Mill. Photo: Neasan.
Vibrant colours, patterns and fabric scraps. The energetic and already compelling mis-en-scene that is the studio space of Sue Ninham.
When I arrive, Sue, a resident at The Mill as of July this year, is immersed in her creative process. She’s measuring a piece of fabric peppered with orange and green circles, when she looks up at me and smiles from behind her octagonal framed glasses. Shape, evidently being a prominent and reoccurring characteristic in her work.
“Shapes are in conversation with one another … regardless of where you stop and start, it all communicates and connects.” Sue tells me as we begin discussing where she believes her palpable artistic style is rooted from.
“1950’s/60s modernism in design and architecture” had defined the aesthetic of her grandparents’ house and childhood. The futuristic and minimalist elements of the era – “flat roofs, built in furniture, curtains and fabrics” - all influential to her design style today.
Her education and practice in graphic design and illustration provides a “design aesthetic” that underpins her work, however Sue describes her relationship with her abstract style to be freeing and based on intuition. “It’s a feeling-based experience, in which a memory finds its way up to the surface and out subconsciously.”
She explains how she returns to modernist form and structures and incorporates them into designs, to create nonliteral reactions to experiences. “In my head my painting sensibilities of shape, line and colour have turned into a library of visual language.” Each colour, texture and form present itself as an inner observation she uses to compose her work.
Sue Ninham, ‘Love Vessel’
Journaling and collaging in A5 notebooks are also an integral part of Sue’s creative process, in capturing momentary ideas on a small scale. “It’s getting back to the small illustrator scale that I’m comfortable with, I like working left to right, it creates rhythm and flow of ideas”. She enjoys encapsulating the mood and palette of a moment, and finds it interesting to look back on, as to whether she is still captivated by previous ideas.
I ask Sue about how she developed her recognisable style, to which she so poignantly responds “I’m just being me.” It’s clear that her unique flair is not a formulated one, but rather a revealing expression of intuitive feeling.
“It’s all encompassing. I am in an absolute state of joy when I’m making art. I go to a place where my worries fall away.”
Despite the subject matter or tone of the piece, her bliss from creating evidently shines through. “The joyfulness just can’t help but surface,” Sue tells me authentically, as I look across the melodious and colourful nature of her works. We talk about the interaction between these aforementioned elements and the jazz like quality it creates.
“There is rhythm and syncopation in shape and figures and the way they move.”
More recently, Sue has decided to bring her art into the world of fashion and printmaking. After making her own clothes for several years, the decision felt organic.
“It’s a different avenue of expression … I’m bringing art into a relationship with my love of clothing.”
Sue takes me through an overview of the silk-screening process and getting her patterns graded. I’m indulged to look at some previous pieces she’s created. The structure of the dresses themselves is smock like and framed, whilst the incredible detailing on each piece is a compilation of hand stitching, appliqué, printed fabrics, letterforms and textured materials. Sue describes her pieces as “wearable art” and loves creating a balance between elegance and innovation.
She envisions the form of the dress itself to be androgynous and sculpted, acting as a blank canvas.
“The structural simplicity of the shape allows for the complexity of the motifs in the design.”
I ask Sue who her dream person to design clothes for would be. She’s quick to answer.
“Tilda Swinton. She’s endlessly fascinating, I love her androgyny, she’s the epitome of elegance and completely comfortable in her own skin. She’s the real deal!”
I feel incredibly lucky to have been invited backstage to Sue’s artistry, and the thoughts behind such captivating works. It is Sue’s account of her creative process, being one of such purity, sensitivity and heart, that leaves me feeling truly inspired.
Words: Kimberly Psaromatis
Artwork images: Sue Ninham