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Marlene Struss

Heart of the Rainforest

by

Marlene Struss

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Heart of the Rainforest by Marlene Struss
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Heart of the Rainforest

by

Marlene Struss

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$ 1,890

Or 3 payments of US$630.00 via instalments at 0% interest!IconInformation

Overview

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2022

Acrylic on panel

Unique Work

Dimensions: 61cm (H) x 61cm (W) x 3.8cm (D) / 24" (H) x 24" (W) x 1.5" (D)

Note: Actual colours may vary due to photography & computer settings.

Artist Statement

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Heart of the Rainforest is a signed original acrylic painting by Marlene Struss on a cradled panel with sides varnished to complement the painting The surface is protected with a coat of satin ploymer varnish and the back is wired for hanging. The dominant colors are reddish brown, green, red, and blue. The darker organic shapes against a dazzling white with shifting colors brings the viewer inside an active and exciting world of flora and fauna.

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Artist Profile

Born: 1950

Hometown: San Jose, CA

Based in: Santa Barbara

I'm a California girl, agnostic product of Catholic schools, and inveterate artist. My art degree is from University of California at Santa Barbara, where I am blessed to still be. Since college I've created bodies of work in pastel, surrealistic collage, abstract collage, digital painting and acrylic painting at present. I've shown mostly locally but have branched out as far as Russia and England and my work has appeared in several international art books. I'm represented by the Corridan Gallery and the 10 West Gallery, both in Santa Barbara. My work can also sometimes be seen, if you're looking for it, on television shows such as The Catch, The Big Bang Theory, and Man with a Plan, Mom, Ballers, Lucifer, Ballers, Gray's Anatomy, N.C.I.S. LA, as well as some commercials.

My painting for a while now has been about the magnificence and mystery of nature. I call it biomorphic abstract expressionism. Color is the primary element I focus on, and the image unfolds as I experiment with unusual applicators and methods of putting down and removing acrylic paint of varying viscosities. I don't think about drawing; I wait to see what happens, which allows for striking and surprising organic patterns and designs, but requires restraint. My preference for universes and universal themes, as opposed to singular objects and events, and for passage of time rather than moment in time is obvious in the intuitive esthetic choices I make for each fenestrated layer of color. My goal is to present beauty, balance, color harmony, interest, and vitality — as an antidote for the anxiety of the manmade world.


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