By Nancy McKeithen
The walls of Diana Suttenfield’s airy, light-filled Falling Spring Studio are as much canvas and easel for her as gallery: Finished paintings and current work hang side-by-side, two and three deep. The walls bear the pastel smudges, paint smears and pencil sketches from the different phases of her life as an artist. Photos, cards and bits of paper are thumbtacked seemingly at random, interspersed with handwriting — quotes that she doesn’t want to forget and snippets of text that suggest a title for a future painting. Collectively, they are both abstract and representational, a metaphor for her work and career.
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