Suzy earned her Bachelor's degree in Fine Art and Art Education at The Pratt Institute in New York in 1968. She taught in Connecticut until marrying Bob Andron, an architect, who brought her to Raleigh in the early 70's.

In 1980 Suzy earned a Masters Degree in Landscape Architecture at NCSU. She taught interior design at UNC-Greensboro and later at Meredith College, all the while developing her unique style of painting. After teaching in the Art Department at Meredith, she retired permanently to devote full time to her artistic techniques and expressions.

In the 90s, Suzy began participating in numerous competitions and auctions around North Carolina and neighboring states, receiving many honors for her work. She has re-invented her work by expanding into Polytychs since 2001. Suzy has pieces all over the world in private collections.

Suzy's polytychs have now started to be recognized. They have ranged from 2 or 3 connected panels (of highly textured abstract acrylic compositions on canvas) to as many as 11 contiguous panels in a commissioned giant wall mural, to a recent Polytych with 16 canvases. Suzy continues to explore the excitement that comes from manipulating the geometry of attached canvases and the synergy of multiple parts embellishing the fullness of an expression.

ARTIST'S STATEMENT

Getting Lost In Your Interpretations… Polytychs by Suzy Andron

I have been painting for as long as I can remember. As a young child, my mother brought crayons and paper to keep me quiet during church services. My entire life has been influenced by art. There is nothing more pleasing to me than painting. When I am working on a piece, I feel exhilarated. Expectant. Scared. Occasionally, I even wonder, “What am I going to do with this mess?”

I am “anti-style” as I paint, but there is continuity in my work. In 2000, I started painting triptychs. Soon, I expanded to more than three combined pieces, and they became polytychs. The canvases wanted to rotate, so I applied geometry to the mix. My polytychs continued to evolve, now into new dimensions. I turned a few canvases backward while still connecting them with the others. I experimented with triangular canvases. I introduced different textures, and worked with how they interact. Right now, I’m developing pieces that are composed of several layers of canvases and new base materials. The only pattern to my work is the most natural of all: I keep changing, growing and creating new works of art.

When working, I anticipate the moment when a painting “tells me” what to do next. I begin by combining canvases of different shapes and studying their composition. I introduce various materials to the canvases to produce an array of textures and effects. But I have learned that to overdo a piece can be disastrous. At the end of each work session, I allow the piece to rest. All of my pieces are the best they can be at the time of completion. Then, and only then, are they signed. Nothing is signed until it whispers “finished” to me.

I want all my paintings to find good homes; places where they interact with their new owners, where they continue to enthrall. When you see my work, I hope you are somewhat stunned and intrigued, and ask “why?” - and then go up, down and within, searching for your answers – getting lost in your interpretations.

Exhibitions and Other Painting Events