Drawing on the Granite Glacier in the Canadian Selkirks, skis still on. (Steve Price photo)

I've met my goal when I've transported the viewer into the world of the painting but that viewer remains aware my hand wielded the brush. The painting walks a line between invoking reality and a collection of brush strokes.

I will become obsessed with the source of an image, and repeat it 2, 3, 6 times and more; I wake up at night thinking about it and occasionally get up to paint all night. I carry my paints to many locations.

Much of my subject matter shares a theme of human impact on the environment. I am equally fascinated by subjects not usually considered "art-worthy", such as light switches or the numbers on telephone poles.

Whether it is my anxiety about climate change expressed in paintings of burned-over forests, or the eerily beautiful and faintly disturbing paintings of night-time industrial settings, I know that my best work contains both awe and ambivalence.

Recently a group of jurors reviewed several bodies of my work. Their comment are some of the most meaningful I have ever received:

[Suze's] ....arts beautifully bring together environmental and anthropological inquiry with technology, materials, and storytelling into an object. Each piece could equally live in a classroom, museum, or gallery for its ability to educate, inspire, and focus. It is rooted in Pacific Northwest sensibility, giving ecology a voice beyond what words alone can convey."