Susanne Meterko


Susanne has a degree in interior design from the Art Institute of Pittsburgh, and a Bachelor’s degree with a major in fine arts from Regis College in Weston MA. She taught drawing classes for ten years at Minuteman’s School of Continuing Education, Lexington, MA. Over the past decades she has studied with accomplished artists from Boston University, Mass College of Art and Design, and at DeCordova’s Museum School in Lincoln, MA.

Most recently she has studied with Teri Malo of Tripp Street Studios in Framingham MA. She works in her studio at The Umbrella and is employed as a picture framer and art consultant in a well-established gallery in Acton MA. Her works are in numerous private collections as well as in the permanent collection of Enterprise Bank in Acton, MA. She is represented by The Left Bank Gallery in Wellfleet, MA.

Artist Statement

Nature, as my inspiration brings to mind the passage of time and the tension between being and doing in life and in art. There are moments of perfect light on water or foliage or snow that make me want to rush to grab my camera. Yet I know from experience that the instant will be gone before I click the shutter and I will have missed the experience altogether. The alternative is to simply try to commit it to memory, savoring the moment, luxuriating in nature as I let it sink into me.  But then comes the urge to put brush to canvas or paper–now! --before I forget. Should I linger to savor this inspiration, or should I cut it short and get back to work? There’s too much to do and no time to “be.”

When I’m painting or drawing from observation I feel I have a unique opportunity to learn about the essence of my subject. There’s a life force to be recognized in any subject and the trick is to capture that without distorting or destroying the image. The act of applying sensuous paint in its array of colors and textures can be so enticing that one runs the danger of doing too much – and not letting the subject “be” what it is.  Over-defining an edge or translating too literally can kill the very energy one is trying to capture. Yet pushing the image’s boundaries beyond recognition without specific intentions to abstract the subject misses the mark as well.  The artist’s hand and I intellect and intention can, in the doing, try too hard, and miss the being.

The tension between doing and being has been a life-long joyous pursuit of mastery of a craft while at the same time discovering and savoring life’s richness in quiet moments.  If I can keep those two aspects of my life in balance I will have achieved something worthwhile.