A suspended chord typically shows horizontal motion for voice-leading. This is different than an “add” chord that uses upper-tertian harmony for color.
There are actually three parts to a suspension: the preparation, the suspension, and the resolution. The preparation introduces a non-chord tone to create tension, the suspension then “suspends” that non-chord tone within the harmony to prolong that tension, and the resolution then moves that bon-chord tone to a chord tone by step to resolve the tension.
Suspensions typically resolve by half-step and typically do so downward, thus, 4-3 suspensions are quite common as is an 8-7 (for a cadential 6/4) or a 9-8 / 2-1 depending on your counterpoint / voice-leading. In fact, there’s a whole species of counterpoint dedicated to them (4th species).
The fact that you’re not currently using them in the context I described above indicates that you’re actually using a different language of harmony. Quintal / quartal harmony is based off of 4ths and 5ths, and does not follow the rules of tertian harmony. Your “sus2” / “sus4” chords are actually inversions of quintal / quartal chords.
So to reiterate, in your current context they’re not really suspended chords, but if you added linear motion and used suspensions as a way of creating and resolving tension, then you’d be treating them like proper suspended chords.
I’d like to stress that you should follow up on my answer by reading a theory textbook or some such as this is just a cursory explanation - don’t have time to write a whole textbook chapter for each of these answers.