Shine a Light: The evolving, exuberant art of Suzanne Wallace Mears

Color inspires Suzanne Wallace Mears — and a challenge. The dedicated OKC artist enjoys staying creative by switching media, and her drive, and a lengthy love affair with kiln-formed glass, have produced dazzling results on display at galleries in Santa Fe, Tulsa, Broken Bow and Guthrie, as well as Oklahoma City’s Howell Gallery.

“Things That Go On In The Garden After Dark” 24x30” mixed media

Your art spans several mediums. What inspired you to embrace this fluid approach rather than focusing on a single medium?

I like the challenge presented. Many artists specialize in one medium and are happy to stay there; I don’t like to get that comfortable. I find that my creativity is challenged by changing mediums. It’s starting fresh, I put that medium aside and move into another one totally different. If I’m painting, I’m not firing glass. 

I can get into get into a rut with a concept and try to do as many interpretations as possible — that’s fun and I can surprise myself, but it also can define my art, and I have found that’s it’s not rewarding. 

I change it up. I usually work in a chosen medium for three or four months, and then move into another one.  

How do the different disciplines you work in like glass and painting interact with each other? Do they ever inform or influence each other in unexpected ways?

I think they interact well. I keep elements I might want to use down the road if it’s not fitting with my current work. Later, an idea will pop into my head and I remember those wonderful elements I could use. Because I kept that inventory around me, the new and the old, a light bulb of new ideas could jiggle my mind: “Hey! What about doing this with that, and what if I combined this with that?” And off I go into creating something totally new. I do this with my painting, as well; it could be years later that I get a painting out and know exactly how to finish it. 

“Just-Two” 48x36” mixed media

“After Dark” 20x16” mixed media

You mentioned that working with only one medium can feel stagnant. Can you share a moment when switching mediums unlocked a new creative idea or direction?

I think the reason I suddenly switched into glass was I had reached a point with the ceramic work that left me uninterested and in that rut I try to avoid. I was ready to discover something I didn’t know a 

thing about. I thought I did when I started, because I had worked with clay and firing kilns for a lot of years — but what I quickly discovered was that I knew nothing about firing glass. I promptly, with my initial arrogance, blew up my first firing all over the inside of the kiln. I thought glass would be an easy transition and it was anything but. That was a disappointing shock. 

However, that was the beginning of a 25-year love affair with glass. It’s been an incredible journey.  I’ve always been a paint slinger; part of the way I work with my painting. That is not the technique which will work with glass, though, so that discipline which glass technique process demands was very good.

Kiln-formed glass is clearly a cornerstone of your work. What is it about this medium that continues to captivate you after all these years?

Amazing, creative, unlimited ideas can be done — but only if the technical formulas are properly applied. I was ferocious in my desire to conquer this, but had to go to workshops to learn the necessary process. It was like Christmas every time I opened the kiln. The suspense and the challenge have kept me riveted for 25 years.

The process of kiln-formed glass involves significant patience and precision. How do you balance the technical challenges with the creative freedom you seek?

Firing glass requires discipline with the technical part. There aren’t shortcuts with it. You don’t open a kiln when it’s still too hot, and you don’t fire too fast or cool too fast. It’s all based on size and mass. But I don’t think the word “precision” fits my style. I do not measure beyond knowing the finished size I want. Everything is free cut with no ruler or guide, and I use a lot of frit (which is varying grades of glass, powders to chunks) as well as other elements. My style is very free, spontaneous and open to using all the elements I have available in my studio. 

“Date Night” 40x40” mixed media

“Little Blue Beagle” 7x5” mixed media

You aim to evoke joy and positivity in your work. What role do you believe art plays in shaping our emotional and mental states, both as creators and viewers?

Joy and positivity in my work is the way I live my life. I don’t accept failure — failure is just an opportunity to come up with a new plan of attack! I have a sunny outlook, and I focus on each piece of art I do with excitement. Every artist carries themselves into their art. For me, it’s sharing a happy, positive, sunny wish for those that have my work.

I think art included in a home or garden makes life so much happier and full. I live with a lot of it, but that’s because I produce a lot of it. I love having it in my home. My home is a gallery which I constantly move around, or sell. Art makes one think in ways which would not happen if it were not there.

Your art changes with the light and time of day, creating a dynamic experience. How do you think this interaction between light and glass adds to the emotional resonance of your pieces?

Glass IS all about light. Without light, it has no life. As light changes with the time of day, and light affects it at night, it produces different feelings and excitement in the viewer. It never stays the same.  As the light changes, elements and color change. Little nuances not seen at one time can suddenly show up. Working with glass and living with glass art is like having Christmas every day.

Looking ahead, are there any new mediums or techniques you’re eager to explore? How do you see your artistic practice evolving in the future?

My work is always evolving. Currently, I’m exploring multimedia sculptures using raku-fired clay masks, kiln-fired glass pieces and steel, all mounted on a vertical wood backing and wood base. And I’m painting and in the midst of a collection of smaller paintings which include flowers, dogs, cats or birds. These are at Howell Gallery only.