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Leave It on the Mountain
Issue 251 - May 2025
|Frieze
Afterlife: For Vivian Suter, exposure to the elements is part of her practice nterview by Lauren O’Neill-Butler
LAUREN O'NEILL-BUTLER Is evanescence something you think about while you're painting?
VIVIAN SUTER Yes, for example, when I'm painting here at my house in Panajachel, in the highlands of Guatemala, I'm always outside and under a tree, so the leaves will naturally fall on top of the works. Some stay stuck on but, in time, they might fall off. I also paint at my studio on the mountain - there's a trail near my house with steps leading up to it. I'm always thinking about all the things that are happening in the world while I'm working - the fires, the inundations, everything - so, yes, impermanence is on my mind. Of course, I'm happy if a museum collects my art and conducts research on how to keep it fresh with their restoration team - that is always strange but nice - but I'm not thinking about durableness when I'm working.
LO-B So, the afterlife of your work is something you give thought to?
VS Yes, because the work always continues living, right? I let it out into the world, and it continues its destiny. I sometimes include soil in the paintings because I'm trying to show how the work happened in this place, with its specific climate and history. For me, this just feels like an obvious way to make art; it's not something I'm trying to enforce, however. It's my way of doing things that has evolved over time through working.
LO-B Have you noticed the effects of climate change where you live over the past 40 years or so? Have the trees or vegetation changed? vs Yes, for sure. It is hotter and drier than before. But there are also more trees where I live, so it's cooler than in the village and we have fewer flowers, too. I can't grow vegetables, though: there's just too much shade.
LO-B There were two strong hurricanes, in 2005 and 2010, that flooded your house and drenched your work in water and mud. Can you tell us what happened after the second one?
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