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Suzy
earned her bachelor's degree in Fine Art and Art Education at The Pratt
Institute in New York in 1968. She had already begun teaching as a
student and continued to teach in Connecticut until marrying Bob Andron,
an architect, who brought her to Raleigh in the early 70's.
In 1980 Suzy went to
NCSU and earned a Masters Degree in Landscape Architecture. Suzy taught interior design at UNC-Greensboro and later at
Meredith College, all the while developing her unique style of painting. She now teaches Color and Design fundamentals in the Art Department at Meredith.
Suzy has painted in
several studios - wherever she could be allowed to make a mess. The
Androns built a home studio in 1997 that enabled her to produce more
concentrated work and in greater volume.
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's polytychs have now started to be
recognized. They have ranged from 2 or 3 connected panels (of highly
textured abstract acrylic compositions) to as many as 11 panels in a
commissioned giant wall mural. Suzy continues to explore the visual
splash that gushes 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 |
