Sue MacLeod-Beere New Zealand, Australian, b. 1956-

Potts Point - Derrawunn, acknowledging the traditional owners and custodians, the Gadigal people.

I chose to paint Potts Point because it was the first place I called home upon arriving in Sydney, and I was immediately drawn to the area's distinctive Bohemian atmosphere.

I lived on Orwell Street, and the striking Art Deco building at the top of the road —the Metro Minerva Theatre—became a significant part of my experience, offering a unique sense of place.

With this series whenever possible, I painted en plein air, aiming to capture the vibrant sights of Potts Point and a few scenes from nearby Kings Cross. The challenge was to convey the pulse of life in this dynamic area in my work. My interactions with locals—listening to their stories and learning about the neighbourhood—added another layer to my creative journey. I uncovered fascinating histories, from Ginger Rogers dancing at the Metro-Minerva Theatre to the intrigue of Russian espionage - the Petrov Affair.

The Yellow House was the first painting I embarked on, and I returned four times to complete it, setting up my easel across the road from the iconic building. I painted beside a beautifully curated antique shop, with a florist next door, which always displayed exotic flowers on a table outside, creating a Parisian-like atmosphere.

Each painting begins with a small sketch to establish the composition, followed by oil painting on canvas or board. I like the chaotic nature of my initial brushwork, enjoying the abstract elements that naturally emerge during the process. I aim to keep the vitality of these marks in the final version.

Peter Sheridan’s book, Sydney Art Deco and Modernist Walks: Potts Point and Elizabeth Bay, provided invaluable insight into the area, and I was fortunate enough to meet the author while working on the Yellow House painting.

Sue MacLeod-Beere, 2025


"Gathering Moss" examines the intricate relationship between nature and human experience through the symbology of moss. This exhibition transforms a seemingly mundane element of nature into a profound metaphor for protection and renewal. Moss, with its ancient resilience and regenerative qualities, forms a comforting layer that shields from external dangers, akin to the protective measures we adopt to navigate the world's uncertainties.


My practice is rooted in abstraction, driven by an intuitive process that embraces the unknown. Recurring motifs such as moss, lichen, candles, and camouflage emerge organically, symbolising a surrender to the act of painting and a communion with the abstract. These elements reflect my belief in nature's inherent kindness and its imperative for us to collaborate in preserving our environment and well-being.

Through these paintings, I highlight the rejuvenating power of moss. It embodies the potential for new growth and transformation, emerging from the protective embrace of nature. Colours mixed intuitively defy the constraints of formal art training, embodying a release of control and an embrace of spontaneity.

The works often retain an unresolved quality, which I embrace as a strength. This unfinished aspect invites viewers to engage with the paintings on a deeper level, allowing their own interpretations and emotions to complete the narrative. It reflects my desire to step aside and let the paint speak for itself, free from the constraints of traditional expectations.

Living and working on the lands of the Gumbaynggirr Nation on the Mid North Coast of Australia, I draw inspiration from the region's rich and diverse ecosystems. This exhibition is a testament to the interconnectedness of all life. "Gathering Moss" invites viewers to reflect on the ways in which nature can guide and protect us, offering a contemplative and transformative experience.

Mary Porter, 2025

20+artists in a variety of genres & media.. BCFA will donate 10% of sales proceeds to Ars Musica Australis - the charity providing young artist scholarships in music performance, dance...