Marina Strocchi was born in Melbourne in 1961 and spent her formative years exploring, studying and working within the realm of painting and printmaking. Moving to the Northern Territory in 1992, Strocchi established the Ikuntji Art Centre at Haasts Bluff and has been extensively involved in arts programs across Central Desert communities for over two decades. Strocchi has exhibited her work widely in Australia and internationally. Her works are held in many public and private collections both nationally and internationally.
Some words about Linework from Marina
I have painted for nearly decades, my inspiration has been a combination of landscape, imagination, and objects close at hand.
I like to invent a structure using line, which I “take for a walk”, colour, texture, and shapes. I try to create a balanced, overall structure. I start with a line or a shape. It could be a landscape, or it could be an abstraction of memories. I move from the point of commencement - I like to create the sense of a net-like a fishing net – a balanced network of lines and shapes where there is a push and pull of elements that create a structure. I try to create a sense of nature even when the subject is inanimate. I like to create organic qualities in my paintings through forms, lines, colours, and patterns: patterns of nature, repetitions, and unexpected junctures. I think that living in the Central Desert has affected my work. I think I paint “the glare” of the sun. That bleached quality that comes from bright sun.
My work is an often-intuitive response to nature, in particular the central Australian desert where I have lived since 1992. I work organically, in an attempt to activate the feeling of being in the landscape. I deconstruct and anthropomorphize the landscape and challenge the human-centred viewpoint of nature. Restorative care and reparative action are the points of reference embodied in my environmental work. Through layering of textured mark making, I create the subtle irregularities and patterns of a world where nature is the major stakeholder. I try to create a sense of stillness in most of my work, regardless of the subject matter.
The tension between the interdependent line work and form creates the counterpoint for the structure and colour in my paintings. I am trying to create a form of ‘spacial’ harmony: a place of reprieve and refuge, as nature does in life. A fundamental aspect of my work is a response to the brilliant glare of the Australian light and its effect on land formations. My practice is painting, acrylic paint, and oxides on linen or handmade recycled Indian rag paper.
This collection of works brought together under the title LINEWORK is pushing towards abstract. There are suggestions of land formations and desert landscapes, but my interest here lies with the structure and play of the surface. The handmade recycled Indian rag paper has a very organic shape and feel to work with. It lends itself to a painting that floats.
The paper is glued with conservationist’s glue onto gesso-ed marine ply which has been individually cut to match each unique piece of paper. The painting, therefore, becomes an object.