"My work is about a collection of impressions, the ride, the weather, the ancient stone walls, the rivers and tracks. In an holistic way I'm trying to layer all this into a painting plus the way I feel about the history of it's forming. My emotional response is really the most important thing I want to convey in these paintings. When that happens it makes the struggle worthwhile." Susan's work is clearly intensified by her life 300 metres up on Bodmin Moor. Her quiet restricted pallet and occasional lush use of impasto make these land/seascapes a shadowy world, both remote and unfathomable. In these landscapes/seascapes Susan is constantly striving for an equivalent rather than a direct representation. "I prefer to work from memory. It is a powerful source of internal responses and I don't get bogged down with detail. Instead I have to rely on a feel of the space." The lyrical movements produced by Susan's quiet, restricted pallet create an ambiguous sense of space, sometimes reminiscent of Chinese landscape painting.