Susan Aldworth: Turning Chemistry into Art in Edinburgh

Susan Aldworth is a visual artist who, when we talked together at the Edinburgh Printmakers as she prepared for her forthcoming exhibitions there in April, describes herself as a printmaker. A printmaker she most definitely is, but that simple word describes an artist who is so much more than that and whose work is very much informed by her interests and studies in philosophy, the human mind and a sense of ‘self’ and what that might mean.

She also explores people’s lived experiences, which makes her work feel very immediate and relevant. She is an intriguing and engaging subject to boot, who very generously let me see some of her work and also shared some of her process – my huge thanks too to Head of Editions Alastair Clark for his time, kindness and enthusiasm.

Aldworth’s two exhibitions, which will run concurrently, are called ‘Belongings’ and ‘Modern Alchemy’.

The meaning of Belongings

‘Belongings’ features the imagined contents of the suitcase Aldworth’s Grandmother brought from Italy when she migrated to London in 1924 and comprises 35 individual antique pieces of clothing, to be suspended in mid-air. As we looked at a christening robe in the printworks, which was being used to print words and images onto – still at an experimental stage, which was fascinating to observe – Susan talked about how we all tend to hold on to baby clothes, for sentimental reasons, and about the associations we make with the smell they often still hold, generations on.

She has used fabrics in previous exhibitions – pillow cases as a representation of sleep. “They are the only visual evidence of sleep we have” she says. And Victorian underwear in her exhibition about epilepsy – “Just as Victorian underwear couldn’t be seen or talked about, epilepsy continues to be hidden”, she says softly and yet says, with conviction, how angry this still makes her.

She has used fabrics in previous exhibitions – pillow cases as a representation of sleep. “They are the only visual evidence of sleep we have” she says.

Anger is what drives a lot of Aldworth’s work, I think and ‘Belongings’ is a response to anti-immigration narratives and the difficulties faced by those who have been uprooted, displaced or who may be seeking sanctuary. I asked Susan if she had had the chance to talk to her Grandmother about what she actually brought with her from Italy all those years ago, and while she didn’t have that opportunity, she spent a lot of time over two “very special” years interviewing her Great-Aunt.

Part of the response to this exhibition is to invite local migrant groups to create their own artworks. Whilst Aldworth won’t be personally involved in this work, she told me, “Blank luggage labels will also be hung at the exhibition for people to write their responses on, there and then”.

Art and Science: Modern Alchemy

‘Modern Alchemy’ is an exhibition which has resulted from a commission that Aldworth won to work with Edinburgh University’s Dr Amanda Jarvis, who researches sustainable chemistry. Susan explained that she was able to “take my studio into the lab”. Sustainable chemistry is all about how to make chemical synthesis ‘greener’, particularly, Aldworth explained, trying to replace precious metals with cheaper, more abundant alternatives, so as to minimise ravaging the earth through mining. Susan’s response to this in her own practice was to replace her usual metal plates with steel ones and to use ‘aqua regia” – otherwise known as ‘royal water’, which is known for dissolving metals such as gold and platinum, whilst leaving many others unaffected.

She had no idea what to expect, but the results of her alchemy, some of which she unwrapped to let me see, are both beautiful and thought-provoking. No spoilers here, of course…but I will say that other works based on her brain scans – a procedure both of us have experienced – absolutely mesmerised me.

Another aspect of this collaboration has been the relationship between Aldworth’s sketch books and Jarvis’s lab books. Very different, you might think, but Susan explained that “they are both for keeping records, to document things. In both art and science, you have to remember what you’ve done, what results you have achieved”, so not so very different after all. Fascinating, no?

I asked Susan what she felt her greatest achievement has been thus far and her immediate response was ‘Ooo la la!”. After careful thought – and given the context of our interview, she said slowly “I suppose my career as an artist”, but then with a huge smile and great tenderness, very quickly added ”And being a mother”.

We had talked a lot about family, grandchildren, and that sense of belonging, nostalgia, and overwhelming love, and I think her added qualification of “Hard and fulfilling” was about being a mother. But I guess it applies equally to being an artist. In this case, an alchemist and not just in her “Modern Alchemy’ works.

I asked Susan what she felt her greatest achievement has been thus far and her immediate response was ‘Ooo la la!”. After careful thought – and given the context of our interview, she said slowly “I suppose my career as an artist”, but then with a huge smile and great tenderness, very quickly added ”And being a mother”.

And so, what next? She said, “I’m working on a project about grief.” It will, perhaps unsurprisingly, be in print (not textiles) and will also be in black and white. I can’t wait.

Finally, I asked Susan if there was anything else I should have asked her but hadn’t. She said not, but without hesitation, when I asked if there was anything else she’d like to add, she said, “My journey with Edinburgh Printmakers has been extraordinarily powerful. Everyone here is amazing.” And then she was whisked away to her taxi, but not before she hugged me close, and we agreed we would meet again.

It’s a chemistry thing.

Featured Image: Susan Aldworth at CSM, photo by Younchuk, 2023