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Annissa Slusher Art

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Annissa Slusher Art

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I paint large-scale still-life paintings in Kinsale, Ireland.

18/09/2026

Some paintings tell you what they need. This one made me work for it.

I kept changing the balance, softening the crown, reconsidering the composition — and at one point I seriously thought about changing the shape of the canvas altogether.

Eventually, it clicked.

A pineapple feels almost constructed rather than grown: armored, geometric and protective on the outside, then unexpectedly luminous underneath. That contrast is exactly what drew me to it for my Guardians series.

Citadel
Oil on canvas
100 × 150 cm

15/09/2026

I need your help with this one. 😊

I’m choosing a portrait to send in for an upcoming artist feature with UPWARD Gallery, and I’ve narrowed it down to these two.

I have stared at them for far too long and can no longer be trusted to make this decision. 😂

Which would you choose — 1 or 2?

And a quick thank-you to my husband for spending the afternoon taking far too many photos of me until we finally got these. ❤️

Click on the photo to see the whole thing.

13/09/2026

I went to the market for one thing.

That did not go as planned. 😂

The problem is, I can’t really look at fruit as just fruit anymore. I’m looking at the shape, the color, the structure, what might happen if I cut it open, and whether it could become a painting.

So the papaya, kiwi, pomegranate and honeydew all came home with me.

Totally reasonable. 🍈🥝

11/09/2026

I really thought I was buying a cantaloupe. 😂

I cut it open expecting orange and instead found all of these beautiful greens and yellows, with the seeds tucked into the center.

So… apparently I’m painting another honeydew. 🍈

I had actually been trying to find something different to paint, but the minute I opened this one, I knew it had to become part of the series.

Sometimes the paintings choose themselves.

08/09/2026

Some things are protected by being hidden.

Meet Veiled.

I’ve always been fascinated by physalis — the delicate, papery husk wrapped around the fruit inside. It looks almost too fragile to offer much protection, and yet that is exactly what it does.

That contrast is what drew me to paint it.

The Guardians series began as a way of giving ordinary fruits and vegetables the attention we usually reserve for portrait subjects. But as the series has grown, I’ve found myself thinking more and more about what each one protects, carries, and promises.

In Veiled, protection doesn’t look like armor.

It looks almost weightless.

Veiled
Oil on canvas
100 × 100 cm
From the Guardians series

06/09/2026

You’re looking at the inside of a fig—but that’s not really what this painting is about.

Kept
Oil on canvas
100 × 100 cm

I’ve become fascinated by the hidden interiors of fruit—the parts we usually cut through without ever really seeing.

While painting this fig, I kept coming back to the way everything is gathered inward. The seeds are enclosed, protected, held deep inside until they have the chance to become something more.

That idea sits at the heart of my Guardians series.

Again and again, I find myself amazed by the quiet intelligence built into ordinary things. The closer I look, the less ordinary they seem.

Kept is about protection, possibility, and the small hidden structures that carry life forward.

I’d love to know what you notice first when you look at it.

02/09/2026

I’m so happy to share that Sanctum has been longlisted for the 2026 Almenara Art Prize and selected for the Online Exhibition.

This one feels especially meaningful because Sanctum sits right at the heart of what I’ve been exploring in my Guardians series — the quiet ways nature protects what is vulnerable and holds the promise of what comes next.

What began as a painting of a cut tomato became, for me, something much more about shelter, protection, and the extraordinary architecture hidden inside ordinary things.

I’m incredibly grateful to the Almenara Collection for including Sanctum among so many remarkable works, and I’m excited to see what happens in the next round of judging.

Wishing all of the longlisted artists the very best. 🤍

Sanctum
Oil on canvas
100 × 100 cm

30/08/2026

A little quiet for your Sunday.

I spend so much time painting single objects that I sometimes forget how much I love the conversation that happens in a traditional still life.

One color changes the way you see another. The light shifts across the table. Something ordinary suddenly becomes worth looking at a little longer.

That’s one of the reasons I keep coming back to still life — it gives me an excuse to slow down and really notice what’s in front of me.

Radiance
Oil on canvas
70 × 100 cm

26/08/2026

A highly underrated part of the creative process: knowing when to stop.

There’s always the temptation to keep going. Fix one more thing. Add one more layer. Stay at the easel until I’ve somehow solved whatever isn’t working.

But I’m learning that there’s a point when more work stops being better work.

Sometimes a painting needs time. Sometimes I need distance. And sometimes the best thing I can give it is a fresh pair of eyes tomorrow.

So yes, occasionally painting looks like this. Feet up, staring at an enormous unfinished melon and resolutely NOT touching it. 😂

I suspect knowing when to stop might be useful outside the studio, too. 🤍

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Kinsale
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