suzie devey

A Thousand Tales is a multi-sensory walkthrough experience where “the more you look, the more you will see” reveals intricate drawings, hidden puzzles, worlds of wonder. In celebration of Children’s Literature the artwork was created to entice adults as much as children.

Beginning in a bedroom, to the sound of snoring as a dragon sleeps across the window. There’s a 9 foot high bed stacked with mattresses, each depicting hundreds of drawings that evoke fairytales, sea tales, banquet stories and more. With monsters under the bed that glow in the dark, phoenix arising from the ashes and delicate figures on the drapes; this is just a part of this extremely detailed show.

Find a secret doorway through the bookcase, or step through the fur coats in the wardrobe, and visitors encounter a forest quite unlike any other. With silver birch bearing images from hundreds of fairytales and huge creatures to encounter.

Intriguing quiet sounds entice visitors to seek out and find “listening pods” to experience 6 stories as soundscapes; completely without words these soundscapes are an invitation to create your own version of what you can hear. A dog with sheep in the rain, A woodland with an urgent knocking and more.

There are golden keyholes in trees to find, peer inside to see exquisite dresses of feathers and twigs, “weed wide enough to wrap a fairy in”.

An intricately carved wooden walkway depicts branches with its shadows creating a fairy forest ambience. Within the shadowos and shapes a puzzle is hidden, enticing people to seek out hidden animals and discover a secret word.

Step through the archway to meet Great Bear, Keeper of All the Stories, he is the bear from every story. His gaze falls upon a hundred books adorning the walls; Each one printed with a story ending.

This is the end or, if you step through the secret door, just the beginning.

With activities to make original art and take it home, this is an experience not quickly forgotten as it doesn’t re-tell any specific story but evokes the memories of stories told, no matter your age.

Commissioned for The Word, National Centre for the Written Word by South Tyneside Council. Exhibition free to enter from October 2026 to February 2027.

Women of Experiment was created as a celebration of women associated with the Stockton and Darlington Railway for the Bicentenary of that Railway in September 2025. The work features portraits and symbolism of remarkable women that are also representative of hundreds of other women (mainly from NE England) . Commissioned with support from Arts Council England and S&DR200, Women of Experiment was acquired by the National Railway Museum in September 2026 for permanent display at Locomotion, Shildon. Originally exhibited with SDR200, “Tracks of Change” at Preston Park from September 2025 to January 2026.

I made this to honour women whose stories shaped the Stockton & Darlington Railway - stories that were rarely spoken about or written down.

The original waggon has its own history, I found it in a field near Hull but saw that Dorman Long steel made the girders, so it felt like I was bringing it back home to Teesside. The old lady I bought it from told me she used to ride out from it with her cousin as it was used as their horsebox; that cousin was Amy Johnson, the first female pilot to fly solo from London to Australia.

The waggon was moved to my barn studio, and we began work to restore it so any part I used was from the original waggon. This involved burning the wood (Yakisugi influenced charring) to distinguish the grain. Then carving directly into the wood so that the waggon end became a huge printing block, I took limited prints from it both before and after carving, but the waggon itself is the final artwork.

I gathered stories by hosting workshops in museums, libraries, festivals and by boarding Northern Rail trains with printmaking activities for passengers, as close to the original railway line as possible. I invited people to make a print of the original waggon planks or an artwork featuring Hazel Dobinson as the elected Railway Queen from Darlington 1960. Both artworks enticed people to take part and provided stimulus for great conversations bout women and the railways. In exchange for the artwork people shared a memory or knowledge that related to women they knew about who were instrumental in being part of the railways. I heard hundreds of stories and themes began to emerge.. war workers, entrepreneurs, mothers/aunts/sisters, historians, writers and many who were “first”. The final artwork depicts real portraits of women who represent these other hundreds of stories too. Among the women carved into the waggon: Martha Howson, whose work at the Black Lion supported the earliest passenger services; the Railway Queens, once national figures, now largely forgotten; women who kept the railway running through the war; the writer Anne Taylor; Karen Harrison, the first woman engine driver; mothers and entrepreneurs whose ingenuity reshaped lives and rail travel; and women instrumental in keeping women’s stories alive today including Caroline Hardie and Helena Wojtczak. Amidst them all a young female figure plays with a model Locomotion, their face contemplative as they dream of tomorrow.

The artwork is a testament to the resilience, endeavours, determinatoin, grace and grit of women today and tomorrow. Women of Experiment brings these stories together across two centuries, marking the moment in 1825 when passengers first stepped aboard the passenger carriage “Experiment” and the world changed; because women and men changed the world forever in that moment.

Large-scale inflatable installation, 9m x 4.5m. Commissioned by Barnsley Libraries, 2024. Toured across Yorkshire.

Story Shell started from a simple memory: holding a shell to your ear as a child and listening for the sea. I wanted to take that and build it at a scale where a whole class of children could stand inside it together.

Seven story plots are mapped inside, characters and worlds offered as starting points, not finished stories. So whoever enters can create their own version of stories from what they see and from how they feel.

It's air-filled and can be transported in the boot of a car, moving between schools, libraries and public spaces across Yorkshire- bringing storytelling, workshops, performance and music with it wherever it goes.

Winner, Best Family Arts Activity, Fantastic for Families Awards 2025.

https://www.familyarts.co.uk/awards-shortlist-2025/2025-shortlist-barnsley-libraries/

With thanks to Steve Messam for creative consultancy on the project.

Thanks to Steve Messam for creative consultancy on the project.

Inside this replica telephone box is a tiny, fully operational printmaking studio.

Created in 2019 the phonebox toured festivals and events thoughout the north east. Over 2000 people created a miniature linocut inside the box… creating over 3,500 little works of art throughout the summer.

People were surprised and delighted to discover this on their doorstep, a great talking point and way to introduce printmaking … or even just being creative!

Please get in touch if you would like any information about having the phonebox at your event.

Initial project funded via Arts Council England.

A 4-metre-wide photograph of the Scots Guards, standing in formation, in uniform, at attention.

At first glance, it's a straightforward regimental portrait. Look closer, and a hidden message emerges encoded within the image itself.

The piece takes its starting point from William Friedman's Knowledge Is Power, a photograph that concealed a message within a military group portrait. Here, that idea is turned toward dialect: the hidden message becomes a way of exploring military language as a form of cultural code, and asking how the words soldiers use shape identity, belonging, and communication within their units.

The work grew from conversations with Yorkshire veterans, exploring how dialect functions inside military life- made as part of a national dialect research initiative, commissioned by North Yorkshire County Libraries.

Alongside the photograph, an interactive puzzle ran through Catterick library. Postcards hidden in the military section each carried a clue, leading visitors toward the message concealed in the photograph and, in the process, into a part of the library that doesn't usually get much attention.

Decoding Dialect sits at the meeting point of language, code, and military life. It asks people to notice the dialects and shorthand that exist across the Services, and to look twice at an image that isn't what it first appears to be.

ONCE UPON A SIGN a series of three road signs in Middridge, County Durham, changing every six weeks, each set telling a short story in three images.

The first story: The Tortoise and the Hare, distilled to a single line: "Be More Tortoise" - a nudge to slow down and take your time on the road. New stories continuing to appear every 6 weeks throughout 2023.

Each sign functions as a single frame, and the three together form a sequence - a narrative built for a driver's eye, readable in the few seconds it takes to pass. The stories draw on local folklore and the history of the area, translated into short visual sequences and turns of phrase built to catch attention and hold it just long enough to change behaviour: drivers slow to the 30mph limit, and the road becomes a safer, calmer space for the village.

The signs are only part of the piece. A hopscotch grid, invisible until it rains, is painted into the pavement nearby — a second layer of storytelling that only reveals itself under certain conditions, rewarding attention and repeat encounters rather than a single glance.

Commission for Blossom Festival, National Trust at Nunnington Hall.

Celebrating the beauty of blossom "Shimmer" invited people to contemplate the intricate beauty of blossom in the orchards and gardens at Nunnington Hall. Echoing the symmetry of the formal gardens, the copper artwork will change over time and be bright for a fleeting moment, like blossom. This transformation reflects the natural cycle of life and growth, reminding us of the ephemeral beauty of nature.

Every natural pattern of grown or movement in nature comes back to one or more geometric shapes, a hidden order and harmony of the natural world. Such beauty lies within this artwork, inviting viewers to contemplate the intricate beauty of the blossom in the work and, as you peer through it.

Words and stories have been gathered and tumble from the artwork to connect with people who shared them and to see blossom through their eyes.

Featuring a poem commissioned by Hazel Storm Devey to gather hundreds of spoken story words into a beautiful spiral of meaning.

WORD ON THE STREET

An investigative project from January to March 2021. Identifying how people in and around Gresham in Middlesbrough were able to cope (or not) with the isolation of the pandemic, with a view to the future. Enabling creative conversations and exploration so people could stay connected when so much of what we know has become disconnected.

These conversations and observations were mapped in a series of collaborative works to bear witness to the essence of what holds a community together.

I gathered stories of positivity and stories of weariness, of companionship and family, snapshots in time were drawn, spoken and felt. Noting similarities and differences the map emerged.. a map of a community which is really the place itself.

The signs of those times were revealed in a range of artist interpretations. Inspired by the vintage street signs still visible on bricked corners and old street maps of the area. The work was exhibited in a public show at Cleveland Shopping Centre throughout May to June.

In collaboration with Carol Newmarch Workshops. Commissioned by Middlesbrough Cultural Partnership.

Commissioned as part of Tees Valley “Museum of Missing Stories” the project was to stimulate memories and encourage communication among people with dementia, who often struggle with memory loss and isolation. Museum artefacts served as a visual aid to help trigger memories and stories from the participants, and a series of creative workshops provided a space for them to share their experiences and connect with others.

The NowHere Map is a tribute to the stories of people with dementia who inspired it. The map features roads drawn as profile portraits of these individuals, each one representing moments of their journey through life. I drew each portrait, capturing the unique outline of each person. I then used the portraits to create the roads, weaving them together to form an intricate network of paths that crisscrossed the map. Underneath lies Darlington, spanning the width and breadth of their lives. Around the edge are ink drawings, depicting moments captured through some of the wonderful story-sharing /

The map is on public display at the hospice and continues to spark dialogue about the challenges and joys of living with dementia. The map became a powerful tool for raising awareness and promoting understanding and empathy for people with dementia and their families.

Through the project, participants were able to reconnect with their past, share their stories with others, and engage in a creative and collaborative process. Overall, the "Nowhere" project demonstrated the power of art and creativity in promoting well-being and social connection among those with dementia. By creating a unique and engaging visual representation of their experiences and memories, participants were able to connect with others and find a sense of meaning and purpose in their lives.

In 2021 I began to develop my printmaking practice so that I can explore automata as a way of creating movement and intrigue to my work. I was awarded “Developing Your Creative Practice” funding from Arts Council England for this exploratory time of learning, investigation and exploration. This continues to be a work in progress.

I had never even held a drill before this exciting venture into my new work began. From this time I have learned how to use a multitude of handheld, electrical and technological tools. Gaining support and tuition from experts. I have also had the pleasure of learning automata, from concept to mechanism from some of the world’s leading experts.

This is an ongoing project but the vast amount of learning I acquired as part of DYCP can be seen in my illustrated map that I submitted as my evaluation to ACE at the end of the project phase.

Click here to enjoy a synopsis of the project by Northfield School

Enabling young people with visual impairments to explore portraiture. A series of innovative creative workshops for youngsters and their families/carers leading to a shared exhibition at Preston Hall Museum and Gardens.

Working with Living Paintings and children’s services the project enabled young people to identify and recreate portraits in a different sense.

I was commissioned alongside this to create a portrait of a significant person to me. Choosing Kit Williams, I created handprinted wallpaper feature portraits of all the youngsters that featured a hidden code. Breaking the code led to deeper understanding of viewing work using other senses. My portrait was created as a tactile piece too, ultimately to encourage people to think beyond what they see as art.

Commissioned by Tees Valley Museums Service and Preston Hall Museum and Gardens.

I won the commission for Reconnecting Communities to conduct 3 months research and investigation using my skills as a creative practitioner from January to March 2021. This social engagement experiment was a Great Place Tees Valley project, created to help Tees Valley cultural venues rebuild and strengthen connections with local communities and audiences, during the COVID 19 pandemic. Commissioned by Middlesbrough Borough Council this was based at Newham Grange Leisure Farm.

I helped the farm to consider new ways of working, by widening their visitor base and enabling them to engage with participants and get a real understanding about their wider wants in terms of visitor experience and thoughts around participation during COVID.

Throughout the project I engaged and consulted with the community around the farm and wider area, despite lockdown restrictions.

The project led to the discovery of 5 key themes for future development; History, Nature, Animals, Archeology and Creative Activities.

Liaising with communities, partners and other stakeholders I created 5 discovery trails using printmaking processes and linking to national initiatives such as The Lost Words. Awareness and understanding about each of the key themes was further developed via a series of educational and informative worksheets complimenting the trail with retail opportunity development.

New audiences were identified and workshops promoted/held to capture specialist interest for adults, thereby broadening the potential for visitor numbers and activities. This included year round art workshops for adults, guided tours, walk and talk experiences, young people’s programming and activities for ages 9-16 and nature themed activities for specialist groups.

Commissioned by North Yorkshire County Libraries, "Ey Up" is an art project that was part of a national research initiative aimed at exploring dialect across the UK. The project aimed to revisit an original dialect project from the 1950s and explore Yorkshire dialect with local communities.

I worked with local communities to create a giant crossword featuring Yorkshire dialect words with clues to their meaning. The artwork was a collaborative effort, with members of the local community learning printmaking skills as part of the process. Through their story sharing, we created letters using linocut and collage from books printed in the 1950s.

The resulting artwork is a 4m wide, vibrant and colourful representation of Yorkshire dialect, showcasing the unique language and culture of the region. The crossword format invites viewers to engage with the artwork in an interactive way, as they search for the meaning of the dialect words and solve the clues.

Through the process of creating the artwork, the project also served as a platform for sharing stories and experiences related to Yorkshire dialect. Local community members exchanged stories and memories, reflecting on the ways in which language and dialect shape our identities and experiences.

Overall, "Ey Up" is a playful and engaging exploration of Yorkshire dialect, created in collaboration with local communities. The artwork celebrates the rich cultural heritage of the region and invites viewers to engage with dialect in a new and interactive way.

REASONS TO WALK IN NATURE
Covid-19 enabled me to create a Positive Space. A space where artists find wellbeing through nature. Where artists have discovered new ways to combat social isolation by collaborating and making art in a way that bridges the virtual realms to the real world.

As I walked in the wood, I saw fallen and cut tree trunks, as a printmaker I saw these as surfaces to ink and print. An idea emerged to add linocuts to those surfaces… linocuts created by other artists, inspired by nature. I had discovered a way to bring artists together, to entice them into nature and re-kindle their creativity in the face of Covid-19.

I created Positive Space to encourage wellbeing for artists, their families, friends and anyone who sees the work they create. Anyone who wanders in a woodland and takes notice of how their senses are responding is bound to feel good… when you take in the sounds, smells, textures you absorb the very essence of the place. It becomes a place to relax, play or find inspiration.

Bringing artists together tackled the deeper issues of social isolation. Many artists are used to working alone and enjoy that solitude but they thrive by being part of a community. Covid-19 threatened the existence of that community as closed and cancelled signs appeared on every event, festival and local art project. But, at Positive Space, I’ve made it possible for artists to discover new ways to re-build their artist communities. Despite lockdown and social isolation every artist has created work in collaboration with each other.

Each linocut made by the artists is inspired by nature, but also by a shape that has been emailed to them. When completed the shaped linocuts are posted to me. I put the shapes back together, like a jigsaw and print on the log backgrounds. So every work of art is produced by many artists. The financial impact of Covid-19 meant that income disappeared overnight for artists, we create each piece as a limited edition and are offering them for sale via our website. As the art sells artists are receiving income, where there was none before. Positive Space has come about because of a worldwide pandemic but we fully intend to continue collaborating in this new way, enjoy our health and create work long after Covid-19 has disappeared.

Suzie Devey

Artist (one of many)

www.apositivespace.uk

Read blog from project commissioner

Commissioned by Tees Valley Museum Service VIP was a way for Preston Park Museums to engage with personal, local stories with the “Socialites”; a group of adults from Stockton-on-Tees. who have visual impairments.

Each person had access to replica artefacts that had resonated with them in some way during a guided visit to the museum. Handling and chatting about the objects evoked memories and stories began to emerge; a replica Victorian glove evoked the Queens Silver Jubilee with tea on a lawn, A sabre sword caused discussion about the extinction of tigers. A coal iron sparked stories of grandparents hoarding their lives in objects. Stories abounded by the simple act of being able to experience the artefacts for themselves.

Our enjoyment often depends upon how involved we are in that experience. Behind glass were some original Bridget Riley prints, I created full size laser cut reproductions to create a tactile experience of the work. This reproduction provides an experience for the viewer whether they are observing with their eyes or their hands.

The Socialites will be creating a tactile experience of their heritage stories as their final exhibition for sighted people who visit the museum. Unfortunately Covid-19 caused the project to be postponed, but it will be completed as soon as it is safe to do so.

How much is a postage stamp worth? The value is printed on the front face but rare stamps can be worth much more than the amount shown; this amount is known as the “Face Value”. This has become a phrase in the English language - to take somebody at Face Value means to accept them just as they appear.

The final artwork depicts local people who have provided a welcome relief and a welcome beyond belief to people who sought sanctuary in the Tees Valley.

At Face Value these “philatelist” portraits celebrate those who have given sanctuary to people in great need but underlying that is a far greater value; Each portrait is surrounded by words and images created by those who became asylum seekers or refugees. Through a series of printmaking workshops they were able to create linocuts as a way to symbolise elements of their own stories and experiences

The project was made possible and enjoyed by people at Justice First, Cultures CIC, British Red Cross, Methodist Asylum Project, Open Door North East, North East Refugee Service, St Patrick Catholic Church Thornaby, Stockton Baptist Church and Stockton Parish Church.

This project was supported with funding via Arts Council England.

Read first blog for Auckland Tower

Read final blog for Auckland Tower

Commissioned by The Auckland Project, County Durham England for the Auckland Tower.

The Mint Print was a series of family and visitor printmaking experiences about the Prince Bishops at Auckland Tower. The project provided intrigue at a key visitor attraction and enhanced interest amongst the local community and visitors.

Participants were able to enjoy printmaking as a one off experience or return each week to develop their skills as they shared their own heritage stories in relation to the discoveries they made about Auckland Tower and Auckland Castle.

Everyone had one thing in common: they were all creating images and designs for our own “mint print”. Echoing the fact that the Prince Bishops of Durham minted their own coins, these visiting printmakers discovered for themselves ways to make a design “in relief” . The coin designs included animals hidden in local architecture and fables: deer, boar, carp and a camel with figureheads and emblems of royalty for the reverse side: crests, emblems, kings and bishops. After weeks of work, visitors had produced an amazing collection of prints and taken them home to show friends and family their new printmaking skills. But every person taking part had also given one of their prints to be featured in a public exhibition.

The final exhibition was hosted at Auckland Tower during Bishop Auckland’s Food Festival and featured over 50 original works of art. Displayed on a plinth sat a broken earthenware pot which looked as though it had just been pulled from the ground. Over 200 replica coins based on visitors designs, tumbled from the pot. Glinting silver in the sunlight, the coins were the ultimate celebration of all the work that had taken place over the last six weeks.

Commissioned by The Festival of Thrift

The Gonfalon Game was created as a way to bring families together and enhance enjoyment at a major arts and sustainability festival. Located in woodland at Kirkleatham Museum I created printing plates featuring animals commonly found in English Woodland.

The activity involved children making a gonfolan flag and printing their chosen animal. Ribbons were attached to the flag of a single colour.

The game was played by chasing and catching other animals around the festival, swapping coloured ribbons until the flag was festooned with five different colours. The family returned to the making station for a small prize.

Families were captivated by this, many parents saying how it really engaged their youngsters… helping them to approach others even when rather shy. The game has been adapted in schools and at other events, changing the ribbons for quoations or lines of stories and the images as other figures to create other learning or engagement experiences.

CYPHER: The Co-Production of Young People's Health and Social Services

Co-commissioned by University of York and Hartlepool Borough Council.

Read project overview by University of York here

“Cypher was a participatory research project designed to enable children and young people to have an impact upon their local health and social care policy formulation and service provision. Adopting an innovatory approach to data collection and dissemination through the use art, children and young people will act as co-researchers to work collaboratively with artists, practitioner stakeholders and university academics. The co-production of the research findings will enable the young people involved to develop skills and understanding important for raising their aspirations and sense of efficacy. Moreover, the results will immediately inform local policy deliberations offering the prospect of more responsive and tailored local health and social care services arising from the personal experiences and expectations of young people themselves.”

Printmaking Residency at Navigator North

Since memory, people and places are interwoven like a tapestry I was interested in finding places where the urban environment has a beauty of its own. A beauty that was created by the lives lived in that place: scuff marks on an old door from the passing of thousands of footsteps, peeling doors revealing layers upon layers of ancient paint or drainpipes darkened with years of crumbling rust.

I gathered these urban remnants upon canvas to create “urban fabric”. Just as the physical environment is a backdrop to our lives, this urban fabric became the backdrop to the portraits I created of the storytellers I met.

The stories were gathered amongst allotment holders at Thornaby and shared at the local agricultural show.

TXT24 was a series of emotional conversations with limited words .

People were invited to send a precious postcard they had kept for sentimental reasons. I altered the existing image using collage to create a new piece of art. Upon receipt payment was made by sending me text of 3 words to capture responses to the work. In a text message, if one letter is changed it can be catastrophic or funny. Postcards are chosen for the image they bear, so what happens to the message in a postcard if the image is changed?

Postcards sent were dated before 1984, prior to the invention of text messaging. People were sharing very personal artefacts and private conversations by sending these to me… but how really private is a conversation on the back of a postcard? The image on the card is as evocative as the words on the back, how would people react to have that changed so that the artwork became completely different?

The results were shared anonymously online with over 106 artworks featured. The project was funded by Yorkshire Contemporary Visual Artists Network.

Mural commissions

Showing small excerpts from some commissions.

Hartlepool Railway Station mural was awarded “Innovation in Tourism”

Tactile elements were included in the children’s hospital mural.

I’m frequently commissioned to develop and deliver a series of workshops in response to a particular brief. The outcome of the project is often unknown at the beginning and the process is usually the key purpose. I’ve included this project as an example of how I work on such a commission.

Commissioned by IVE, Leeds I worked with Richmondshire Refugee Support Group for 5 months, engaging young people from Syria, Afghanistan and Ukraine. The project aimed to explore the idea of whether there are unspoken voices in young people that can be released through the visual arts to enact agency. The young people involved were refugees, and the project gave them control over the direction of the project, allowing them to make decisions on what happened from week to week. The project aimed to provide a creative outlet for the participants, enabling them to have fun and consider themselves, but also helped them integrate into their new place by fostering cultural exchange and collaboration. The project involved a series of creative workshops, where the young people were encouraged to explore their artistic abilities and express themselves through various mediums.

One unique aspect of the project was that the young people created geocaches as a means of self-expression to the world. They used the geocache boxes as a canvas to tell their stories and express their hopes and ambitions. The geocaches were hidden around the town, and they shouted their whereabouts with banners paraded through the town, displaying GPS coordinates. This activity not only allowed the young people to express themselves creatively but also enabled them to engage with the community in a unique and exciting way. In addition to creating geocaches, the project involved going outside and meeting business owners, people on the street, and visiting cultural centers. The project also included visits to cultural institutions such as the local library, Town Hall, English Heritage sites, and museums, which helped inspire the young people to experiment with new techniques and perspectives in their work.

The project was a journey for everyone involved, and it enabled the young people to develop confidence and comfortable social skills, enhancing their self-esteem. The creative workshops and geocache project allowed them to explore their artistic abilities, express themselves, and engage with their new community in a meaningful way.

Organisations frequently ask me to run workshops. Often to introduce printmaking to children or adults. workshops have a different purpose though, sometimes to address issues of confidence, raise awareness of a topic or support people through mental health. I enjoy creating workshops to engage with people, finding ways to instigate creative conversations through art. Workshops can be any length from drop-in sessions to structured long-term courses… and will always make a difference in people’s lives.