The OCA emphasises the efforts students must put into peer networking as a supporting infrastructure to sustain their professional creative practice. I agree that peer networking is an essential element; however, this is not the only way professional visual artists can maintain, nurture and support their practice. I think the OCA brings a great deal of attention to peer networking, given the level of talent OCA students possess, so their ideas and collaboration can be fostered, as well as art critique, which can be exchanged and can propel their professionalism and creativity to the next level. I also agree with that because art history has many precedents of highly fruitful artistic collaborations. I also don’t mind reaching my OCA Level 3 cohort; I just don’t know how. The Padlet appears to be a sporadically functioning system. I think that if OCA could share participants’ lists within each cohort or course, along with learning log details, that would help break the isolation.

Thus, reevaluating my Practice Plan for the next 2-3 years, I reflected on how I can sustain and nurture my practice through networking with peers. A good idea that comes to mind is to continue education through a residency and/or pursue a postgraduate degree in fine arts. Below I place the screenshot of my updated Road Map and the updated Practice Plan.

General Practice Plan

The following Practice Plan sets out the vision, objectives, and strategies that underpin the development of my professional visual art practice. By outlining the conceptual direction, technical approaches and professional growth strategies, I intend to ensure that my artistic journey remains purposeful, sustainable, and open to growth, while maintaining the originality and distinctiveness of my creative voice.

My professional visual art practice is rooted in my deep sense of spirituality and my strong desire to connect with the Divine and celebrate our shared existence. My visual language is influenced by the beauty of Nature, especially the Mediterranean landscape, which focuses on its flora as carriers of Divine intelligence, inspiring countless artistic creations, a unique identity, and vibrant resilience. 

The Mediterranean flora is my first conceptual theme that I have realised in my artworks at a level appropriate for public exposure this summer. My first showcase was titled “Échos Méditerranéens”, exploring the theme of strong, large plants’ architecture and their aesthetic power. I usually select botanical subjects for my works, which have strong and expressive features, such as well-built, fortified stems and leaves, striking colours, and remarkable details. I employ a mixed-media technical approach to achieve the desired depth of colour, rich texture and engaging viewpoints. 

I aim to work primarily in medium and large-scale paintings (approximately 120 cm x 60 cm), which I often translate into high-quality prints on aluminium, produced as limited editions with a maximum of 25 pieces. The choice of a special type of metal print is not merely a technical consideration but a conceptual one: the luminous, durable surface contrasts with the organic, transient nature of my subject matter, creating a dialogue between the permanent strength and the soft, delicate sensation we perceive from flowers and plants. The ideas of sustainability and environmentalism are dear to my heart, so I make a concerted effort to minimise the negative impact my creative practice can have on the Earth. I mostly paint with inks, which are available in glass bottles and buy materials packed in paper packaging. I often use wooden boards and reuse plastic materials in my studio. 

As part of my immediate plans to further enrich my creative practice, I plan to undertake specialised classes in botanical printmaking and calligraphy. These disciplines align closely with my existing interests in nature-inspired visual art and spirituality, offering new avenues for technical growth and conceptual exploration. Botanical printmaking, with its emphasis on the intricate forms and textures of plant life, will enable me to study flora at an even greater level of detail, translating their subtle beauty and structural complexity onto paper through traditional and experimental printmaking techniques. Simultaneously, calligraphy classes will introduce me to the expressive potential of line, hand-breath rhythm, and gesture within the written word, helping me to get better ideas on how to blend textual and visual elements in my compositions. By mastering the flow and precision of calligraphic strokes, I hope  to infuse my work with a heightened sense of narrative and spiritual resonance, drawing from both Eastern and Western traditions. I consider these classes to be skill-building exercises that also provide opportunities for meaningful artistic dialogue, allowing me to collaborate with like-minded peers and mentors, expand my creative network, and remain receptive to new influences and inspirations. The integration of botanical printmaking and calligraphy into my practice promises to invigorate my artistic vision, hopefully resulting in more mature artworks that are technically accomplished, rich in context, and emotionally resonant.

I use a conscious strategic approach to protect my copyright and intellectual property in the current digital landscape, where all high-quality content is used for training AI models in an authorised manner. Thus, I limit the exposure of my artworks’ high-resolution images online, using different digital quality formats and watermarks. I also refrain from posting much of my finished work on the internet or social media platforms as photographs, opting instead for videos to combat the copyright issues currently exacerbated by the visuals generated by AI models’ training needs. I prefer to showcase my artworks via exhibitions and private viewings. This approach requires strong networking and interpersonal skills, which I am willingly fostering in myself. 

I plan to maximise the impact of my exhibitions and private viewings by reaching my target audience through building my expertise in Asian art (traditional Japanese, Chinese, and Indian visual arts) and offering art talks during my events, as well as offering art collecting service and creative directing for various art and cultural projects that any potential viewer can have. My interest in Asian Art sustained me throughout my OCA diploma studies, during which I produced two major written elements: research works on the influence of traditional Japanese Ukiyo-e prints on Western visual art tradition and a representation of gardens in traditional Indian Pichwai visual art. I keep a profound interest in the Japanese and Indian visual arts and plan to further my expertise. 

 Hopefully, after receiving my OCA B (Hons) diploma in Fine Arts, I will be able to apply to SOAS for the Alphawood Postgraduate Diploma in Asian Art and pursue a master’s degree in a related field, such as Fine Arts, Visual Arts, Design, or the History of Art. 

My practice engages with questions of visibility and legacy. I plan for my artworks to circulate broadly as prints while maintaining the scarcity of original works. This strategy resonates with artists such as Bridget Riley, Yayoi Kusama, and David Hockney, who shaped their practices not only through image-making but through deliberate approaches to reproduction and dissemination. 

There are also some far-reaching and long-shot creative plans which I consider as a visual artist. 

Building upon the current trajectory of my visual art practice and my interest in literature and cinema, I am deeply interested in expanding my creative output into the realm of filmmaking. This transition feels like a natural progression given my ongoing exploration of narrative, atmosphere, and spirituality within my paintings and prints. Filmmaking would enable me to translate my visual language into a time-based medium, incorporating movement, sound, and the immersive possibilities of storytelling.

To initiate this expansion, I would focus on acquiring skills and developing craft knowledge, creating short experimental films that align with my established thematic interests—particularly the spiritual resonance of natural environments and the symbolic power of Mediterranean flora. These films could combine live action, stop-motion animation, and mixed media, echoing the layered approaches of my studio work. For example, I might create sequences that follow the growth cycles of plants, using close-ups and time-lapse photography to highlight details often missed by the naked eye, interspersed with painted or calligraphic overlays to reinforce the connection between nature and the divine. Incorporating soundscapes—field recordings of wind, birds, or water—would further enhance the immersive quality and emotional impact of these pieces.

In addition, I would seek out collaborations with other artists, musicians, and writers, as well as technical specialists in cinematography and editing, to produce films that are professionally crafted and conceptually robust. Participating in filmmaking workshops or academic modules, as part of my ongoing studies, would enable me to build technical proficiency in camera operation, editing software, and sound design. I would also aim to screen my work at art house cinemas, galleries, and film festivals, both locally and internationally, to reach a broader and more diverse audience.

Ultimately, by expanding into filmmaking, I aim to create a body of work that not only documents but also interprets lived experiences and spiritual inquiries, contributing to a richer, more multidimensional legacy within the contemporary art world.

I plan to sustain myself through my artworks, art talks, and creative direction, while also building my expertise to the point where I can join a team in filmmaking and stage design. This is how I will measure the success and legacy of my practice over time.

PRACTICE PLAN 2025-2028

Developing creative skills, technical skills, enriching my practice, and growing as an artist.

• Attend calligraphy online tutorials and onsite workshops, which are available in Europe.
• Study portraiture via online tutorials and workshops available in Europe.
• Develop my existing ongoing project “Échos Méditerranées” – mixed media on wooden boards/canvas.
• Develop my existing ongoing project “Il Mondo Flottante. My Past Life Family” and “Exalted Moon”;
• Develop my ongoing project “The Irises”.
• Develop new works in metal prints to reach new collectors, building awareness of my brand @JeannarSu, withholding originals for exhibitions;
• Research on available online options for a Master’s degree in Fine Arts and short-term residences. I also don’t exclude the option of obtaining a degree in the History of Art or some specialisation in traditional Asian/Japanese art, which I researched and posted in my earlier post. After conducting my research, I am interested in applying to SOAS Alphawood Postgraduate Diploma in Asian Art (online) https://www.soas.ac.uk/study/find-course/soas-alphawood-postgraduate-diploma-asian-art with modular study: “Asia’s Art Histories’, “Curating Asian Art”, “Arts of Buddhist World”, “Arts of Southeast Asia”.
• Research for a mentor, there are art consultants who can provide art critique feedback and art consultancy for a paid fee.

Building online presence:

• Establish my permanent website on a CloudFlare platform, which protects the content against the AI scraping on infrastructure level;
• Continue to maintain my page on the Bēhance platform.
• Maintain my accounts on social media platforms, Instagram/Facebook

Building my reputation and awareness among art professionals.

• Submit artworks to selected juried exhibitions/art competitions; ( so far submitted: White Columns, Aesthetica Art Prize, Kingston Gallery). The BBA Artist Prize (Berlin) jurors may include BBA Gallery directors and an Artsy Partnerships account manager.
• Approach selected art galleries in Paris which participate in Art Paris to obtain exposure to Her Art Prize, Marie Claire and BNP Paribas art competitions;
• Keep looking for new submission opportunities.

Building my collectors’ base:

• Planning the next exhibition, probably fall 2026/spring 2027;
• Organise private viewings in my studio;
• Networking for demand in medium and large scale artworks;
• Prepare the virtula and printed catalogue with accumulated body of work.