Waiting for Something, 1–30

Susan Adams: Bridging Tradition and Innovation in Landscape Painting

Susan Adams’s artistic journey began in Texas, where she honed her skills at Maidstone College of Art and subsequently pursued postgraduate studies at Cardiff University and Middlesex University specializing in Electronic Arts. Her formative years instilled a fascination with blending traditional techniques—primarily oil painting—with experimental approaches rooted in digital media. This dual focus reflects her core belief: “Reality” is important. It’s important that things look like things, that her carved and painted people resemble real people, that the ordinary resembles the ordinary, the matter of fact. Her brush, her pencils, her chisels, love the real, the look of it, the feel of it, the weirdly intimate particularity of it. Her artistic vision found its initial impetus in a transformative experience witnessing the Monet exhibit at Chicago Art Institute—a pivotal moment that ignited her passion for Impressionism and cemented her commitment to capturing fleeting moments of beauty within the natural world. Moving to Costa Rica over twenty years ago, Adams embraced the vibrant landscapes of Guanacaste Province as inspiration for her oeuvre. She describes her artistic process as “Entering my paintings, feeling the action or simply enjoying the moment in nature,” emphasizing a desire to immerse viewers in the sensory richness of her artwork. Adams’s distinctive style—characterized by meticulous detail and an unwavering dedication to realism—is profoundly influenced by Luminist painters like John Ottis Adams, whose serene depictions of rural Indiana landscapes served as a cornerstone for her artistic development. She skillfully combines Impressionistic brushwork with sculptural modeling techniques, resulting in canvases that convey both atmospheric depth and tactile presence. Her exploration of materials extends beyond traditional oil paints; she incorporates metallic pigments—a deliberate choice reflecting her belief that “the fantastical, in other words, is every bit as at home here as it might have been for some medieval scribe or map-maker”—to heighten visual impact and imbue her paintings with an ethereal quality. Adams’s artistic explorations encompass a wide range of mediums, including drawing, printmaking, sculpture, and video, demonstrating her versatility and intellectual curiosity. Her collaborative projects with writers—particularly her work on animation for Hepburn Photography—highlight her commitment to interdisciplinary dialogue and her willingness to push creative boundaries. Furthermore, she actively engages with communities through initiatives like “Chance to Create Award” and “Community Befriending,” underscoring her belief in the transformative power of art as a tool for social engagement. Throughout her career, Adams has garnered recognition from prestigious institutions such as Gloucester Cathedral, Millay Colony for the Arts New York, Welsh National Opera, Bardsey Island and Shaftesbury Abbey, cementing her reputation as a respected artist and educator. Her awards include Corpus Christi Art Center, Independent Show, Best of Show 2002 at Corpus Christi Art Center, Texas Great Birding Classic, Texas Parks and Wildlife, First Place; Southern Living Magazine, Green Home, Purchase Award; and International Opportunity Fund Award from Wales Arts International. Magazines such as Estillos y Casas, Landings (Nature Air), The Howler, El Residente, and Southern Living have featured her work, showcasing her artistic achievements and furthering her visibility within the art world. Her enduring legacy lies in her ability to capture the essence of both the tangible and intangible realms—a testament to her unwavering dedication to artistic excellence and her profound connection with the natural environment.