The gentleman is no colorist. He also is no idler despite his subject matter of parks and recreational activities. Suzuki is so busy trying to draw with his paint that his palette of whites, oranges and umbers can barely meet the job of describing the effects of light and dark, let alone try to be color. His surfaces are dull and lifeless, the tired remains of an overworked hasty brush. There is an irony in this since the painter’s large diagonal brush strokes imply a speed of execution, yet the correction and over-correction of each layer of brush action and the lack of luminosity to the paint, obliterate any of the spontaneity in Suzuki’s initial vision. It is difficult to become enthusiastic about labored virtuosity.
—Rosalind G. Wholden
