Featured Artist: Nathalia Suizu

Embracing her personal mantra "follow your bliss" both in and out of the studio, Melbourne artist Nathalia Suizu (aka Natsui) creates joyfully vibrant paintings that are characterised by her unique pop-art aesthetic and affinity for clashing patterns and bold, saturated colour. 

A self-taught painter with a formal background in interior design, Nathalia’s creative expression reflects her widely travelled spirit and animistic world view, drawing influence from Latin American folk art, psychedelia, textile design and spiritual iconography. Her captivating visual narratives are layered with symbolism and totemic motifs, alluding to themes of mythology, mysticism, duality and nature.

We were thrilled to recently digitally reproduce a beautiful new painting for Nathalia, and we were instantly enamoured with her vibrant and eclectic art style.  For those of you who are just as charmed, Nathalia has a gorgeous range of original paintings currently available at Fenton & Fenton, and she also offers a select range of her artworks as limited edition archival prints in offer in her online shop.  And now, on to the interview!

Hi Nathalia, thanks so much for chatting with us today!  Could you give me a brief overview of your creative journey as an artist thus far? When did you know you wanted to paint?
I’ve enjoyed drawing since I can remember and through my high-school years I excelled in art class. At the university cross-roads, it was clear to me that I would pursue a creative career path, but instead of fine art I chose to take what felt like the safer interior design route. So basically I’m largely a self-taught artist. 

When I look back over the past 20 years, I’ve consistently gravitated towards painting whenever the urge to be expressive has arisen.  There’s always been an openness to explore different mediums (like photography, sculpture and digital art), but painting has repeatedly been my hobby of choice. I guess I love the colours I can achieve with paint, as well as the texture, depth, and fluidity. I find painting to be a more forgiving practice than drawing, better suited to my perfectionist tendencies, and the quickest medium to dispel the fear of a blank canvas with.

In hindsight, I suppose I’ve always wanted to be a painter.  It was only in 2017 though, following a year-long sabbatical from working life and a transformative experience living in the Peruvian Andes, that I fully stepped onto my artist path. It blows my mind that I now get to live my artist dream and painting is my job (well at least one of them, as I still freelance as an interior designer). 

Being born in Brazil to Japanese and Italian parents, has your upbringing or cultural heritage played a part in the way you create art?
Being from such a rich and diverse background is both a gift and a challenge. At times, I feel deeply connected to all parts of my heritage; other times, I experience the feeling of not fully belonging to any one place. The migrant story is a recurring motif on both my maternal (Italian) and paternal (Japanese) lineage and it comes loaded with scarcity and conformity issues - the perfect setup ironically for the ‘artist’ archetype, now that I think about it. 

Mostly I consider myself very fortunate to have been exposed to a such a wide variety of cultural influences (food in particular) from birth; the diversity has broadened my aesthetic sensibilities and deepened my appreciation for the unique ways each tribe expresses itself. From my immigrant ancestors, I’ve inherited a strong sense of tenacity and resourcefulness—invaluable qualities for keeping on keeping on as an artist, especially when the path feels uncertain and rough. 

How does iconography and symbolism, particularly in folk art and mythology, resonate with your artistic vision?  Are there any specific cultural regions or artforms that you have a personal connection to?
To me, symbolism and mythology act as bridges between the personal and the universal, capturing archetypes, stories, and values that speak to the shared human experience. I consider them to be living languages, more so than historical artefacts, still holding relevance in relation to how we connect with the world and each other. They inspire me to create works that feel timeless yet deeply personal, often drawing on a diversity of cultural threads.  I’m particularly fond of the iconography I’ve encountered in Latin America, where you see a unique blending of Indigenous, European and African influences, delivered in the most captivating patterns and colours.

I’m a huge fan of the gorgeous clashing patterns and colourful rug and vase designs in your artworks.  What led you to develop your unique visual style, and how did your passion for textiles and patterns evolve into a central part of your work?
Thank you! My love of textile design (and vessel sculptures) has led me down this road, it’s a classic case of painting the things that I enjoy looking at. Moreover, I find the process of researching patterns/sculptural forms gives me as much of a buzz as physically collecting them. 

I’m captivated by the visual rhythm that patterns bring to an artwork. I usually aim to incorporate at least 3-4 clashing patterns into each piece, following the philosophy of the late, great maximalist Iris Apfel, who famously said, “More is more, and less is a bore.”

My earlier paintings were characterized by their distinctive patterned borders, which organically evolved into the ‘rug’ bases you see in the work today. The recent addition of texture to my repertoire has revealed a thrilling new dimension to ‘pattern play’ for me -  I expect to keep rolling in this direction for the next foreseeable while.

Not only have you made a name for yourself as a painter, but you’ve also made broad strokes into product design, textiles and fashion, and sculpture. What has been your favourite project to date? Are there any other mediums you’d like to explore in the future?
I thoroughly enjoyed my foray into fashion, when Erik Yvon asked me to contribute artwork for his NATEY collection in 2019. Creating pattern-based designs for their fabulous garments was an absolute thrill, made even more special by seeing them showcased on the Melbourne Fashion Week runway that same year. What an incredible high!

I’m dead set on making my art rugs happen in 2025 and am currently collaborating with a local supplier to make this dream a reality. I’m loving the intensely textural results we are achieving using a hand-tufted construction method - it’s really exciting, I can’t wait to share this project!!!

I’d love to know more about your creative process when approaching a new piece – do you begin with a clear vision of the final result, or does the painting evolve as you work?
Each piece begins with a sketch that I produce digitally on the iPad, Procreate being my weapon of choice. Going digital has revolutionized my process and allowed me to experiment with countless variations of composition and colour palettes, until just the right balance is struck. The ability to 'save a copy' or 'undo' missteps, has freed me from feeling overly attached to ideas, fostering a greater sense of creative exploration. I really enjoy the flow state I experience during this part of the process. 

I only pick up my paintbrushes once the concept sketch is nailed and a clear vision of the painting has emerged. Working this way makes the physical painting process less of a ‘heady’ endeavour, which I find to be both relaxing and deeply enjoyable - it’s typically a smooth journey to the finish line. I have a lot of fun creating like this but would also love to explore a looser approach to pushing paint one day.

What books, films, artists, or online creators have been firing you up creatively recently?
I’m really appreciating art by Peter Berner, Jessica Nothdurft, Alice Gavalet, Thandiwe Muriu, Eclette (Penny Brooshooft) at the moment.

I’m obsessed with ‘The Emerald Podcast’ by Joshua Schrei and all of Joseph Campbell’s writings. 

Reggae keeps the studio vibes high; currently listening to Chronixx, Bobby Alu and always Bob Marley

I’m really excited to watch Pedro Almodovar’s new film, his narratives and use of colour are second to none.

In terms of finding balance between spontaneity and structure in your creative practise, what are some rituals or habits that help you stay motivated and inspired?  Have you ever fallen into a creative rut?
Self-care is paramount, and maintaining a routine helps me stay balanced. I dedicate a good portion of my morning to yoga, meditation, and a walk. A solid breakfast is non-negotiable.  These grounding practices help me to feel healthy, find peace, stay present in the moment, and keep the wheels of creativity well-oiled. It’s an almost daily routine that keeps me ready to answer the muse whenever she calls. 

I’m also learning that taking breaks is essential for creative well-being, and I’m actively working on better incorporating time-off into my work schedule.

Since committing to this path seven years ago, I haven’t experienced a true creative rut. I have faced emotional hardships that have felt immensely challenging and disruptive, but in my experience, if I show up to do the creative work, the creativity does come. It’s not always easy when you’re feeling low, but I’ve discovered the studio is powerful space for processing and transforming emotions.

If you could choose to collaborate with any artist or designer, past or present, who would it be and why?
I love the power of collaboration and would be psyched for a fashion collab with Alemais and an interiors/art collab with YSG studios.  I deeply admire the wonderfully unique work coming from both these creative powerhouses. 

As we near the end of yet another year, what was in your highlight reel for 2024?  Do you have any creative goals or exciting projects planned for 2025 that you can share?
I had the honor of joining the Fenton & Fenton stable this year. It has been an incredible experience to showcase my art within their beautifully curated interiors, alongside some very impressive talent.

There’s a solo show on the cards for mid-2025 with F&F, I cant wait to sink my teeth into this new body of work. I’m also anticipating a new home studio early next year, it’s gonna be so bloody great to finally own my own slice of paradise and have a larger space to make magic in!!