Hiromi Suter was born and raised in Kyoto, Japan and now resides in Massachusetts ,USA. She is a graduate of Ritsumeikan University, Japan (B.A., English and American literature). She has been interested in hand made art since she was a child. She lived in England for a time and then moved to Massachusetts where she attended courses at the De Cordova Museum Metal and Jewelry Art Department, Lincoln MA (2007-2009) while raising her three children. Within the first few years of the study, her work appeared on the cover story of Art Jewelry magazine (2010). Her works have been exhibited in a number of international exhibitions in Italy and USA. In September 2021, her work “Tsuioku (Reminiscence)” was selected for the cover of a special issue of the Adornment, the Magazine of Jewelry & Related Arts by ASJRA, which was co-sponsored with Mobilia Gallery.
I design and develop patterns from bygone eras and sometimes combine them with themes from the natural world. In particular, I have been entranced by butterflies since I was very young. Their initial appearance changes into something completely different and beautiful and that is what I strive to create with my artwork. The creative process is what I am most interested in and I liken myself to a magician transforming pieces of metal into reflections from my fantasy world . It can take quite a long time to create a piece, and ultimately it helps my work become very personal and something unique.
My interest in “piercing” started even before I began making jewelry. Before discovering metal arts, I was cutting paper to make decoupages. Cutting individual fine lines is very time consuming, but the finished creations give a sense of elegance and mysterious beauty. The completed pieces have visual softness despite being made of metal, yet have core strength. I pierce my designs with a jeweler’s saw, which are usually etched onto copper beforehand. My latest additional technique is gilding and foiling which I blend with various colors to bring ”between colors”. I tend to stray a lot from my initial designs as I get more direction from elsewhere while working with my pieces. I often change the positions inexplicably - perhaps to where they fundamentally belong.