When we stumble upon something that catches our eye in a way we cannot verbally express or describe, then you have found something so unique, you must see more!
This describes the work of New Zealand-born mixed media artist Elizabeth Sullivan. The enchanting world of a remarkable artist who has made Sydney her creative haven and within her home studio, a place inspired by the natural world, a stunning blend of abstract impressions and semi-realism.
All of this is brought to life through an intuitive and innovative process she calls “thread painting” or “stitch art”; a technique abundant with incredible texture and depth that conjures emotion in a wonderland of the serene within each piece.
Can you share a bit about your background and what inspired you to pursue a career in art?
I was born and raised in New Zealand. Like many young Antipodeans, I felt the urge to travel abroad in my early 20s and eventually settled in Australia in my early 30s with my husband and our first child.
Over the following years, we welcomed two more children into our family. From a young age, I was always drawn to creativity—crafting, drawing, and sewing. As my own children started school, I began exploring painting and mixed media art as a way of reigniting my creativity.
Predominantly self-taught, I spent years experimenting with different mediums. It became clear early on that I was an intuitive painter, preferring expressive interpretations of nature over realistic depictions. My art has grown with me over time and has naturally become my full-time pursuit. For me, life without creating and making art is unimaginable.
What drew you to the style of art you are creating and how would you define it in your own words?
Texture and dimension have always played crucial roles in my art, and early on I started incorporating stitching into my paper artworks, initially as a form of embellishment. This evolved into experimenting with stitching on canvas and fabric.
I discovered a deep affinity for the tactile process of stitching and the rich texture it imparted to my paintings. Moreover, it brought me closer to my heritage; both my mother and grandmother were skilled embroiderers, and this tradition resonated deeply with me.
As I delved deeper into stitching, my artworks increasingly became dominated by this technique. Often starting with an abstract painted background or a series of initial marks, I use threads, yarns, and beads like brushstrokes, intuitively layering them to build up the piece.
I now describe my artworks as “stitched” or “thread paintings,” where the stitching itself becomes a primary form of artistic expression.
Can you describe your creative process? How do you approach a new project from concept to completion?
Rarely do I pre-plan my artwork. I don’t start with a printed image or a preliminary sketch. Instead, I simply begin. The painting process unfolds organically; I enjoy layering thin washes of acrylic paint to bring the artwork to life. Once the painting is activated, I proceed with stitching, again without a predetermined plan.
Each stitch informs the next, gradually shaping the piece. I work intuitively, selecting colours and types of stitches, threads, yarns, and beads that feel right in the moment.
At a certain point, the artwork begins to take form, guiding me into what I call the “flow state” of creation. In the final stage, I assess the composition, seeking harmony and unity, and bring the work together. This process is deeply personal and intuitive, a method I have come to trust and rely upon.
Who or what are your biggest influences in art?
Nature serves as my endless well of inspiration. I find myself particularly drawn to the shapes and patterns that nature offers, and I enjoy juxtaposing organic, uninhibited elements with more structured, geometric forms.
In my artistic approach, I am influenced by the abstract expressionism movement and its principles including rhythm, pattern, variety, movement, and soulful expression.
What materials and techniques do you prefer to use, and why?
When it comes to materials, I enjoy working with a diverse range of threads, yarns, sequins, and beads. I use various sizes, shapes and types of beads, along with thick, thin, textured, and variegated threads and yarns. By combining these different materials, I infuse my work with variety, texture, and depth.
I rarely undo my stitching; instead, if I’m dissatisfied with something, I typically stitch or bead over the area, sometimes allowing underlying elements to peek through, akin to the layering process in painting. My technique involves stitching in layers and creatively integrating materials to achieve texture and dimension.
Can you share any upcoming projects or exhibitions you’re excited about?
I have had a recent Gallery exhibition so am now creating new work for upcoming group shows and exhibitions between now and the end of this year.
What do you hope people take away from experiencing your art?
I aim for viewers to approach my work closely, encouraging them to want to reach out and touch it. That’s why I avoid framing my pieces under glass—I want to engage people, pique their curiosity, and invite them to discover hidden treasures. I want them to be pleasantly surprised and to perceive the beauty in my work. Creating something beautiful is truly my goal.
Do you have a favorite quote you would like to share?
“Art washes from the soul the dust of everyday life” – Pablo Picasso
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