Experiencing Vivian Suter’s work is like an embrace. One that is shaped by the flickering conditions that inform our daily lives. Her paintings invite a mode of viewing akin to déambulation—a wandering, open-ended encounter in which the boundaries between artwork, landscape, and lived experience dissolve. Working in close partnership with the natural environment surrounding her home and studio in Panajachel, Guatemala—where she has lived since the 1980s—Suter moves her unstretched canvases between indoor and outdoor spaces, allowing them to be shaped by the rhythms of the forest. Sun, mud, wind, rain, and the marks of surrounding plants and animals mingle with broad, gestural strokes of color, producing compositions where intention and accident coexist. In this way, painting and environment complete one another. Immersed in this tropical context, Suter’s practice becomes a form of material documentation of place. Her canvases register the traces of the natural world alongside her own gestures, embracing the climatic conditions that shape daily life and underscore the transience inherent in the act of making. Untitled and undated, her works may be displayed in any orientation and are often installed as expansive, immersive environments—overlapping, suspended, and unframed canvases that shift with air currents. These installations evoke the improvisational character of the street more than the formality of a traditional museum space. The landscape of Panajachel—on the shores of Lake Atitlán—is lush, complex, and historically burdened. It is a site of extraordinary biodiversity but also of profound disruption, shaped by volcanic activity, recurrent floods, and the enduring legacies of Spanish colonization and Guatemala’s decades-long civil war. Suter’s layered, suspended works reflect this dual reality: they hold wonder and weather, vitality and vulnerability, memory and material trace. Presented on a campus where observation, research, and dialogue are central to daily life, Suter’s work offers a dynamic learning space for engaging with questions of ecology, history, care, and the entanglement of human and nonhuman worlds. At Kenyon, these paintings invite students, faculty, and visitors to consider how environments—whether in Guatemala or Ohio—shape culture, identity, and imagination. The installation encourages viewers to move among the works, to slow down, and to encounter the paintings as living documents influenced by forces both seen and felt. Here, déambulation is not a title but a guiding spirit—capturing the wandering, intuitive path through which Suter works and through which viewers are invited to engage. It evokes the way her canvases travel between sites, conditions, and states of being, and the way the installation asks visitors to navigate the space: openly, attentively, and in conversation with an ever-shifting environment. In this context, Suter’s practice becomes an invitation—to look closely, to think across geographies, and to recognize landscape not as passive scenery but as an active participant in our shared histories and possible futures.