Born in the season of the witch.  Tinkertoy childhood with erector set disappointments.

Led Zeppelin adolescence.

Muses:  Edward Gorey, Doctor Seuss, Giacomo Giacometti and Ed Gein
(just kidding...)

Susanna Eggli was born to a Botanist/Naturalist and a Baptist of foreign descent during that traumatic post-war period known as the fifties. A bizarre time of great expectations and quiet delusion. Needless to say this combination led to some serious confusion later in her life. Coming of age in San Francisco during the season of the witch only further distorted this psyche. The savage, a being of wild and untamed nature, not domesticated, was ever present. Having spent an exorbitant amount of time, energy and cash trying to cull these traits, it eventually became very clear to Susanna that her only salvation was to embrace rather than to reject.

It was almost a religious quest, one that reunited the savage with the environmental warrior. Our ancient ancestors knew that Mother Nature was All. they knew that there was a balance between Her and Man, that was essential t o life. Today, other than our pitiful attempt at retributive recycling, we have chosen to ignore Her.

Susanna's pieces use bones as the structural basis or works like 'No Salvation' and as adornments to pieces like 'Chained and Framed' that repurpose elements such as rusted razor blades and shed boa constrictor skin. The unifying material of Susanna's body of work is animal bone - her concious choice to dramatize the life force that we as humans either never think of or consume routinely. In our profligate culture, Susanna has no trouble finding the bones of animals that couldn't cope with the humans in their environment. She feels that homage is long overdue.

With her works, Susanna hopes to awaken her audience to their surroundings and see the impact that humanity has upon it. Last, but not least, let us not forget that there is beauty in that which once was. Let us not shudder and turn away, but be reverent to all that still lives.