Born in Atlanta Georgia in 1972, Suzanne began her metals and jewelry education in high school, continued at The University of Georgia, and at Kansas State University achieved an MFA which she uses daily, expounding metal and metal related ideas in a collegiate setting in San Francisco, California. Suzanne is interested in material, metaphor, line, contrast, and narrative in her work.

Artist's statement:


Line drawings, sheet metal workers’ patterns, topographical maps, and blueprints; two dimensional renderings inform my current jewelry practice. I generate a variety of forms by scoring and bending flat sheet, or cutting through the sheet to reveal new edges and distinct intersections. In this investigation, steel, gold, sterling silver, and copper are combined in different ways to create new forms and patterns. This work has a relationship with architecture, sculpture, and industry, and addresses more formal aspects of design and function. I use jewelry making as a method of study, or meditation; focusing on texture, contrast, line, and mass allows me to expand my relationship with design.

Conversely, the focus of my current sculptural metalwork is much more narrative, relaying universal human experiences, emotions, or ideas through metaphorical objects. These objects allow me and my audience to consider an idea, to wrestle with unresolved problems, and to understand desires by unraveling the layers of meaning attached to each metaphor. Narrative has always held an important place in my work as it allows me to investigate content, form, and their relationship to each other, while delivering a message I find important enough to iterate.


My grandmother lived in a house in rural South Carolina from the age of six until she died eighty three years later. My father lived in this house, as did his brother and sisters, their grandmother, their grandfather. I visited my grandmother often and for long stretches of time. When it was too cold to go outside, when it was pouring rain, or when I just wanted to be alone, I would spend hours rummaging through the drawers in this house, excavating snapshots of family history, my history, in objects like eyeglasses, tiny sewing kits, ancient metal tins, and small wooden boxes full of brown-edged letters from people I will never know. These objects were endlessly interesting, connecting me with history in a very practical, functional way.

Making a connection to history, to the future; by making objects I am making and remaking these things that held me in their grip, while generating objects that people who come long after me will hopefully find mysterious, compelling, and telling. Like everything, my work evolves over time, but this connection to my grandmother’s history is the bedrock.




b/w photo by Mercedes Jelinek

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