I’m Still Me
Suzie’s story

About Suzie
Portrait of Suzie Smiling by Brigid Brind (oil on linen) 51 x 64 cm
Portrait of Suzie Smiling by Brigid Brind (oil on linen) 51 x 64 cm
Suzie was IMPRESSeD’s first Patient Public Involvement and Engagement (PPIE) contributor. Her role involved co-designing the project to ensure the research would address patients’ most important research priorities.
Suzie died from an unrelated health condition before the portraits were commissioned. Her family were eager for her pivotal contribution to be acknowledged and for her portraits to be included in I’m Still Me.
Suzie’s portraits and narrative explain her legacy of being a positive driving force who made a difference to people going through similar treatment. Her story is told by Brian, her partner of more than 40 years, with contributions from her sister, Jillian.
Suzie’s diagnosis

In 2015, Suzie felt a tiny lump on her nose. Her doctor thought it was a blocked tear duct and referred her on. The moment the specialist looked at her, they said, “it’s not a blocked tear duct. We need to do scans and tests to determine what it is”.
She was diagnosed with a rare cancer, and the only way to cure it was through surgery. It spread to her eye, so the surgeons removed her eye and part of her nose. Suzie was naturally anxious prior to the surgery. Head and neck cancer isn’t publicised like women’s breast cancer. The awareness just isn’t there.
However, after surgery, Suzie’s positive attitude returned quickly. She just got on with things and was back working as a passenger assistant for disabled children within three months.
Suzie’s prostheses

Six or seven months after her surgery, Suzie got her first prosthesis when her wound had healed. That’s when she met Paul, the Maxillofacial Prosthetist. He and Suzie were perfectionists, trying to get her prosthesis right.
Suzie’s Eye Prosthesis in Hand by Sarah Morley (oil on canvas) 76 x 76 cm
Suzie’s Eye Prosthesis in Hand by Sarah Morley (oil on canvas) 76 x 76 cm
Her first prosthesis made her look like she had a slight squint and we were going back and forth whilst Paul tried to correct it. She kept asking him to add longer eyelashes and eyebrows. She loved her makeup. Even when she was in labour, she had lipstick on!
“This is what I am and this is what I look like.”
Suzie always wore her prosthesis and very much regarded it as an important part of her. At work, she wore glasses as she didn’t want to risk losing it and she didn’t want anybody to see her without it, especially the children we were taking to school.
Early on, she asked me, “Do you mind if I sleep without my prosthesis?” I didn’t mind but when she went to the bathroom, she saw herself without it for the first time and it set her confidence back.
With time and support from the family she said, “This is what I am and this is what I look like”. She didn’t hide her prosthesis, it became part of her, and people loved her for who she was.
Portrait of Brian and Suzie by Brigid Brind (oil on board) 61 x 40 cm
Portrait of Brian and Suzie by Brigid Brind (oil on board) 61 x 40 cm
Her early prosthesis was made using an impression. The standard mould was made by putting gauze in the back of the eye socket and then silicone material on top. She found this uncomfortable and unpleasant. It seemed like the impression was difficult to remove the first time Paul tried to get it out.
Based on these experiences, Suzie guided the IMPRESSeD researchers to identify key steps for improvement in the manufacturing processes. She wanted to help others avoid facial impressions, get better outcomes with their prostheses, and speed up the processes. She was always like that, wanting to help everybody else, above helping herself.
“Stick with it. Things get better.”
Portrait of Suzie Profile View by Brigid Brind (oil on linen) 51 x 64 cm
Portrait of Suzie Profile View by Brigid Brind (oil on linen) 51 x 64 cm
Suzie passed away four years ago. She got a chest infection, and the doctors said it was pneumonia. That was heartbreaking since she’d come to the end of her cancer treatment journey.
If somebody had asked Suzie to help them when she was ill, she would have done it. She always wanted to make a difference to people’s lives and to help them. She would have told people in a similar situation, “Stick with it. Things get better”.
By sharing her lived experiences and helping the research team explore new ways of making facial prostheses, Suzie will have made a difference to future patients.
About Suzie’s artwork

Portrait of Suzie Smiling by Brigid Brind
Oil on linen, 51 x 64 cm
Brigid had a challenging task as she was unable to meet Suzie. She had to work with clear but quite austere clinical photographs, and family photographs that were more relaxed but of limited quality.
Brigid’s ‘Portrait of Suzie Smiling’ shows Suzie cheerful and full of life, facing out, smiling, and enjoying being centre stage. Brigid has also depicted an underlying fragility and vulnerability.
Portrait of Suzie Profile View by Brigid Brind
Oil on linen, 51 x 64 cm
Brigid’s ‘Portrait of Suzie Profile View’ shows Suzie in a classical pose with her face turned to her left and her hair pulled back into a tortoiseshell clasp, emphasising her serene and contemplative qualities.
The economical use of tone, colour, and technique helped build a calm, quiet, and still composition that is very different from the first portrait.
Portrait of Brian and Suzie by Brigid Brind
Oil on board, 61 x 40 cm
Suzie’s family, including her partner Brian and her sister Jillian, were delighted with Suzie’s portraits and the way they captured her energetic, fun-loving, and positive personality.
Brian asked whether Brigid could produce a double portrait of them, supplying four photographs of them enjoying nights out and a set of up-to-date clinical photographs of himself. Creating a double portrait from these references was challenging because of the quality of the pictures and the way the faces were positioned.
Brigid chose to use a picture of Suzie when she was younger, and a more recent one of Brian. Suzie’s image seemed to radiate the happiness and positive energy that Brian and Jillian had described.
Brian’s photo showed him turning towards Suzie and looking at her with such tenderness and affection. It occurred to Brigid that this choice echoed Brian remembering Suzie in her younger days; a painting of Brian remembering his beloved Suzie.
Suzie’s Eye Prosthesis in Hand by Sarah Morley
Oil on canvas, 76 x 76 cm
Sarah painted Suzie’s orbital (eye) prosthesis in Suzie’s hand. The only materials she had available were the medical photographs of Suzie, some showing her prosthesis being inserted, and the photographs of her wearing the prosthesis.
After some initial sketches from different angles, Sarah decided that she wanted to paint the eye being held in the palm of the hand, so the viewer looks at it if they were Suzie, creating an enhanced sense of connection with the prosthesis.
This painting reminds the viewer that prostheses are removable and not worn all the time. The painting permits the viewer to visually inspect it, consider the detail, role and function, and reflect on how the person may feel when not wearing it.
While it is no longer a ‘seeing’ facial part, a facial prosthesis is an important part of a patient’s post-surgery rehabilitation. The viewer can compare this artwork with the transformation of the prosthesis in place on Suzie’s face.
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