Suzanne Storer


A workshop in 1988 with Akio Takamori began my lifelong interest in the relationship between line and form. I transfer a life drawing onto a clay slab and give it 3 dimensions by pushing the clay up from underneath. Now what was an illusion (the drawing) is real because it exists in 3 dimensions. When my eye/hand coordination is in total sinc I'm able to draw blind fairly accurately. I let go and allow the humanness of my model to come into my drawing. Occasional workshops I've given special education children increased my empathetic sensibilities. 


In preparation for writing about my work in the publication of the National Sculpture Society "Sculpture Review - Spring 2016," staff writer Wolfgang Mabry told me, "Everything about your reliefs is unique. They have a unique emotional feel, really conveying such a love of humanity without any idealization into impossible Kens and Barbies. Referring just to the relief sculptures you are currently doing, your people show up unencumbered by any overt backstory (background rectangle or circle), they arrive to the viewer in the purest possible state, just as they are. You capture the essence of their souls, and you tell volumes about their inner lives, using such economy of form and line. Your process from drawing to sculpture with drawing merges two disciplines uniquely".


I saw portions of the model as completed sculpture for the first time while studying figure drawing with Utah painter Paul Davis. Then Akio Takamori persuaded me to work in high relief, not full sculpture. Now I'm engaged in work that uses all of my capabilities and that I care most about. I've also come to the point in my life where compassionately rendering our humanness is what matters most in my art. I've learned from Picasso's brushwork on clay, Rudy Audio and Minoan and Etruscan Art.


Mark Del Vecchio, author of Postmodern Ceramics, saw my sculpture "Alec, My Son" at NCECA's Ecumene: Global Interface in American Ceramics in 2012 and told me that no one he knows of is creating sculpture in high relief today finer than mine.