A GALLERY nestled among a busy suburban stretch in Tweed Heads displays a poignancy deeply incorporated into an artist's work.

Faces - of which each tell their own, unique story - gaze upon the viewer from each corner of the room, brought to life via oil paints, charcoal and other materials, which artist Kerry Spence has painstakingly used to craft her own, unique brand of art.

"It's strange, I started with faces as that was my interest,” Ms Spence said of her artistic journey, which began at the tender age of eight.

"I don't know what it is, but it's always been there ever since I was young. I've always been really fascinated with it.

"Other people told me that was odd, but I didn't think it was odd. I used to draw animal or people faces; that was the two things I was interested in.”

Now, 57, Spence's childhood devotion to capturing faces is in full drive, with the renowned artist preparing to submit her third successive entry into the acclaimed Archibald Prize contest.

At first look, one would expect the rich body of work to reflect an artist who's long been confident in creating and displaying their work.

But as with any painting, looking closer and peeling back the layers can tell a much different story.

"I've drawn all my life, it's always been there, but I've only been doing it in this capacity for probably 16 to 17 years,” Ms Spence said.

"When I came out of school, I was told 'art's not a real job', which is understandable. It's a hard life, any creative industry is tough, and it's one of those things where you don't have the courage to step out and do it just in case it doesn't go right.

"I never followed through until later in life, but I knew I had to follow it through some time.”

Now preparing to submit this year's Archibald entry, Ms Spence has developed a new technique she refers to as a "storyboard portrait”, which enhances the story of subject Colette Paull.

Ms Spence said the technique - which uses an in depth process of gold leaf and photo transfers in layers - was appropriate for spotlighting a subject so deserving of emergence from the background.

Ms Spence said Mrs Paull, who started with power company Billabong in 1972 as a bookkeeper before working her way up to director in 2014, was a perfect subject for her first submission using the technique.

"She's broken a lot of glass ceilings that a lot of people don't know about,” she said.

"Her achievements have been overshadowed because of her humility and she's not a person that advertises herself, she stays in the background.”

In the background no longer, the latest work follows on from 2015's Archibald Prize entry of Billabong founder Gordon Merchant, and 2016's creation of ironwoman Courtney Hancock.

The submission of Mr Merchant as Ms Spence's first foray into the Archibald Prize was a significant one.

Not only intertwined with her latest, the piece began the journey for Ms Spence.

"My family used to tell me to go in it (Archibald's), but I'd say 'I don't know',” Ms Spence said.

"My boyfriend said to me, 'If I can get Gordon Merchant to sit for you, would you do it?' I laughed and said, 'Yeah... sure', but then he got him and I went 'Oh no, now I have to do it'.”

Ms Spence said the daunting experience wasn't as bad as she thought it would be, and actually took her art to another level.

"I've never had expectations with it (Archibald's) as it's like the Melbourne Cup,” she said.

"But what it's pushed me to do is try different things, develop different ideas and learn the process of going into competition.

"Even if I never go anywhere with it, it's been a great experience for me.”

A former teacher, Ms Spence's new found experiences have helped her impart her knowledge upon aspiring artists.

Available for taking classes through her Kerry Spence Art gallery, her approach to art offers a point of difference to a traditional art concept, which allows the self-proclaimed "perfectionist” to try and develop outside the norm.

"I've always had this battle as an artist with being a realist; I don't fit into the contemporary art scene, and I don't fit into modern art,” Ms Spence said.

"The more you learn about your craft, you realise some of the things that look simple are actually the most difficult.

"It's not always as it seems and I appreciate a looseness in painting and I try to go towards that, but being a perfectionist and nitpicky, I end up with the realist.

"But I do envy the looseness in art and maybe one day I'll get that.”