She was ignored for decades, but now Suter has been rediscovered as a pioneering eco-artist. We meet her, and her 97-year-old collagist mum, in the wilds of Guatemala
A large dog romps across a blue and white canvas, leaving a trail of brown paw prints. “Oh well,” shrugs Vivian Suter. “They’re part of the work now. I don’t think anyone will mind.” I realise Bonzo – one of three Alsatian crossbreeds that shadow the artist wherever she goes in her Guatemalan home – has just put the finishing touches to an artwork that will shortly be on public display thousands of miles away.
The painting lies on the floor of her “laager” – a storage barn open to the elements, apart from a metre-high stone wall, which you have to clamber over with the help of a rickety chair. The wall is to guard against mudslides, she explains, gesturing at a ghostly tideline that rings the interior. Most of her works hang from a rack; the piles on the floor are for three upcoming exhibitions in Berlin, London and Madrid. Having just opened a 53-piece installation at Tate Liverpool, Suter is halfway through choosing the 200 works that will feature in her Camden Arts Centre exhibition, which opens next week.
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