"The artist, obsessed with being honest, is a provocateur. In her efforts to reveal something of her sensibilities, she sometimes borders on urban sophistication, even caricature. No matter who draws incessantly, she is always looking for discoveries; there are not always hits, but always new beginnings, sometimes secret allusions like the blindfold over the unbearably empty eyes of the antique imitation plaster figure. The artist challenges our eyes to look behind the people's masks. Our sensuality is enriched."

Dr. phil. Werner Stockfisch, 2005 on the occasion of the exhibition "From the Four Directions" in the Observatory & Planetarium Schwerin

"The interplay of lines and color gradients is easily recognizable in her works, which contains both the subtlety of drawing and the powerful, dynamic use of color. Her way of expressing herself is based on allowing painterly impulsiveness and the corrective of compositional rigor. In everything, it is the strong virtuosity of the solid line drawn with a pen that gives existence and format to the images of the imagination and its ideas. The certainty in the linework concentrates the depicted image elements on their contours. Only slight hatching is necessary to indicate volume or perspective."

Dr. Petra Lange, art historian, 2006, on the occasion of the exhibition XXX in the Steglitz Manor (Wrangelschlösschen)

"The colors are intense and dynamic. They threaten to explode, sweeping the viewer away with them, they are life and feeling, until they are caught by lines that capture a moment with the lightness of a bird's feather and then fly on very quickly into a new state, into another life."

Märkische Zeitung, Sabine Slatosch, graduate teacher of German / Art, 2006

"Susanne Haun always tries to see more than the moment wants to reveal. She reads the growth and decay of surfaces on them and she knows that continuity must mean change. Drawings are her organ of reflection, understanding and execution. They explore the artist's environment as well as her own self. They trace things and capture those parts of their being that can be captured in lines. And if that's not enough, they take these fragments and combine them into new creations and structures. They become communication and language and invite the viewer to take part in the dialogue and find their own stories."

Nina Alice Schuchardt, art historian, on the occasion of the exhibition "Sprachspiel → ZEICHnung" in the village church Roddahn, 2015.

"Susanne Haun's works are made up of light white spaces and loose interweaving of lines. Only when viewed as a whole do the isolated ornaments form a common narrative. Susanne complements the drawing elements with the design tool of wash. In addition to the pen drawing, she applies a color in a very thin consistency. This enriches the black and white drawing with magical, translucent, bright areas of color. In Susanne's case, these are often shades of green."

Anja Wetterney, literary and art scholar at the opening of the exhibition at the Green Hill Gallery, Feb. 2016

"She (Susanne Haun) prefers to work with the medium of drawing in order to process everyday phenomena from her world in a narrative way and thus to deal with them. Art means communicating; and for Susanne Haun it means in particular telling stories."

Meike Lander, art historian, at the opening of the exhibition on homelessness (urban development), 2018

"The unmistakable nature of an artist's handwriting is a very rewarding thing: laymen and experts alike find support in this specificity that is not immediately tangible but is nevertheless so obvious. At the same time, the artist feels understood because he feels recognized in his uniqueness. Often understood as a synonym for style, handwriting is to be understood as a constant that is present in the various objects and variations of an artist. This can be the brushwork, the composition, the coloring or the idea behind the creation of a work. In Susanne Haun's case, the lines are her characteristic. With reduced, somewhat shaky outlines, she captures the core of the subject, regardless of whether it is emotions, moods or characters. The drawings are immediate and do not require translation, so that what is seen reaches the recipient directly without detours or delays."

Cristina Wiedebusch, art historian, 2020
in: Susanne Haun: Retrospective 2013 - 2020, Neustadt (Dose) 2020, p.7.