What is your name and how old are you? Susan Ashworth, and I’m 47 years old.

Where were you born and where do you live now? I was born on Portland in Dorset on the south coast of England. Portland is a rocky island, connected to the mainland by a very long pebble bank. It’s a fairly bleak, windswept place. On the few rare still, sunny days, you can see for miles and it’s beautiful. I now live further east along the south coast of England, in Newhaven, which is a fishing port. It’s an industrial place and has a beautiful wild beach, which is rare in this very built-up part of England. I like a lot of space, to be able to see the horizon.



Please describe the space where you do most of your creation – whether it’s your art studio or kitchen bench! I have a studio at home, a converted garage. The oil media I use have a strong permeating smell so it’s good to work outside of the house. It’s also a very messy process so it’s great not to have to clear up in-between working sessions. I long to be successful enough to pay someone to clean my brushes properly after I’ve used them!

What kind of media do you use? Why do you choose to use these media? I paint with oils on board. The paint is mixed with a range of media to make it glossy or matte, liquid or more viscose. Gravity plays its part and I try not to control the paint too much. I prefer board to canvas because it’s more resilient.

What makes your work unique and truly your own? It’s the same as handwriting; everybody’s is unique.



Tell us a little about your creative process. Most of the paintings originate from photographs. The still-life work often features objects that are brought to me, either as gifts or left in my path. Cafetieres and milk bottles feature a lot; partly because I’m a coffee addict, but also because I love things that are used but not generally seen.

What kinds of ideas and things are you working on at the moment? I’m really enjoying experimenting with glazes, bringing objects in and out of focus. The current paintings are dark, with patches of light falling on small areas, some of the objects barely visible in the shadows.

What do you wish you knew about being an artist before you got started? I wish I had accepted that I was going to be poor and not worried about trying to earn money doing other things, such as teaching.

Do you think people need to understand the artist’s intention to appreciate the art? It’s disappointing going to a gallery space with acres of text presented with the work. I paint what I feel will be interesting to work on, or will make a strong image. I’m working in a well-established tradition with a language of its own. Hopefully the paintings are appealing to look at and hold the viewer’s attention and any meaning can be drawn from looking.

What is the strangest thing or thought that has inspired a piece of work? Having seen some of Laura Letinsky’s work, I started photographing leftovers at the end of meals, fish bones and spilt wine, and working those into paintings.



Which era of art do you appreciate the most? It’s difficult to say. My initial thought was 20th century painting – Manet, Van Gogh, William Nicholson, Diebenkorn – but I also love Vermeer, Dutch still life painting, as well as contemporary photographers, Laura Letinsky, Martin Parr.

What other budding artists do you love? I’ve just seen a fantastic exhibition of Rachel Howard’s paintings at The Jerwood Gallery in Hastings. I love the breaking up of grids and patterns. The surfaces of her paintings are amazing.

What do you enjoy doing when not creating art? Going to the beach, cycling with my son, cooking meals for family and friends, reading.

Where can we see more of your work? My website, or the Porthminster Gallery in St Ives and the Rowley Gallery in London are currently showing a small selection of my work. The Battersea Affordable Art Fair in February is the next big show.