The art of being still

Words by Hannah Tapping

Discovering the work of Susan Fowler; one of the country’s leading contemporary textile, pressed flower and mixed media artists.

Pathways

Susan began her career as a lawyer, but after becoming gravely ill with meningitis she was left with a serious brain injury and forced to retire, with medical professionals holding out little hope of a full recovery. On holidays to Cornwall, Susan always felt an improvement and so she subsequently made the move in 2005. “I began by pressing simple bouquets and attending wedding fairs as part of my rehabilitation. The more I became immersed in Cornwall and its creative community, the more my work evolved into an art form,” explains Susan.

“My first studio in Truro was amongst an established collective of artists, makers and creators who encouraged me to see my artwork as an art form and so I proceeded to experiment by making two small abstract collages. As a self-taught artist, I found my creative strength and freedom not on paper, but in three-dimension.”

“There is a school of thought which says that when damage occurs to the left side of the brain, you switch to your right ‘creative’ side and I believe this is what happened. They also believe that senses can become more acute. I was left with epilepsy, which has subsequently made me acutely aware of light and colour and the nuances and hues found within those spectrums.”

Susan Fowler

Working with textiles and mixed media, Susan sculpts and shapes a combination of fabrics and pressed flora: “I use silks and satins, vintage and modern, drawn to how they catch the light.” Inspiration for Susan comes particularly from the coast: “I love watching the sea and in particular, water currents. I view the sea as actively moving across the whole panorama. I am drawn to colour, and how it appears in nature, so north coast sunsets are a particular inspiration. In fact, nature is always my inspiration and food for the soul; it has certainly been a saviour in my recovery.”

Susan’s work begins with intricate hand stitching to prepare the fabric, before working on a ‘spot’ or small area, keeping the work on a flat surface: “To begin with it may be a colour or the shape of one piece of flora or seaweed which speaks to me. I work from there in small areas. If you were looking over my shoulder you would see a design growing, however due to the way my brain now works, I don’t see it that way. It’s a bit like dot-to-dot; I see the dots, whereas you see the whole picture. I’m often asked how this translates into the final piece. If I’m honest, I just go by gut. I get a feeling when I think I’ve worked enough on a picture and often I don’t know even which way up it will be until I get to my framers. I will turn the work around and around as I progress and on some of the larger artworks, the first time I see them upright are when I collect them framed!” Framing is hugely important, especially on the larger works. Museum-grade conservation glass is used to minimise UV exposure, especially where delicate fabrics have been used.

Susan’s studio brims with piles of treasured fabrics and threads: “It’s my oasis. I confess it’s not a neatly ordered space, I work in the moment and will pull fabrics and my pressed flowers and seaweeds onto my work table. I then wait for something to speak to me and when it does, so the work begins. I always have some treasured things I like to leave in the studio, so that when I glance up from my work table, they are a constant source of inspiration. It might be a favourite shell or a vintage piece of fabric, where I am drawn to the shape or colour.”

“Some say I have a very unique style and that it’s like nothing they’ve ever seen before. My response is always, I believe it has come as a result of the head injury and from a very natural place. My work is always changing and evolving and I feel new styles are yet to come. I’m excited by what Cornwall has yet to inspire…

“I’m fascinated by the Italian phrase ‘Dolce far niente’, meaning the art of being still. This sentiment has become more important to me in this ever-changing, busy world we live in and I feel it’s important we embrace the idea of quiet, both for the soul and to make time to think. This sentiment and the idea of the freedom it brings will inform my new body of work.”

Susan’s artworks draw you in, catching the eye from afar with a glint or a sparkle, sparking a curiosity to look deeper within each piece. The work is designed to make a connection. The longer you look, so new elements come to the fore, whether that be a movement or a stillness. Such juxtaposition is mesmerising.

Susan’s work is held in private collections both in the UK and around the world. Her new body of work will be released at a solo exhibition at Tregenna Castle, St Ives on 20th September 2025 – tickets available via the website.

susanfowlergallery.com