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Troperlith Ectokron sympathizes with 'The Others' series and 'The Forest' series. The paint is applied with a collage-like style creating systems of drips, thin transparent areas, thick sludges, illusionistic spaces, flat planes, and a series of 2" resin cubes on a shelf attached at the bottom of the painting. 

These cubes are filled with green reindeer moss, a quartz crystal, black beetle parts, tweezers, bumble bee sea shells, a honey bee and radish roots, copper bb's and wire, human hair, white plastic, and organic cotton. The create a scale to measure the rest of the painting by, but also they add another dimensions of space in front of the painting and into the viewer's world. 

The painting is of one picture containing different systems made by a collage-like style. It is up for the viewer to organize the cybernetics within the work to begin to understand their inner projections at play within the painting. The landscape coming together within the work engages the viewer to reflect the hidden landscapes within the viewer themselves.
Troperlith Ectokron sympathizes with 'The Others' series and 'The Forest' series. The paint is applied with a collage-like style creating systems of drips, thin transparent areas, thick sludges, illusionistic spaces, flat planes, and a series of 2" resin cubes on a shelf attached at the bottom of the painting. 

These cubes are filled with green reindeer moss, a quartz crystal, black beetle parts, tweezers, bumble bee sea shells, a honey bee and radish roots, copper bb's and wire, human hair, white plastic, and organic cotton. The create a scale to measure the rest of the painting by, but also they add another dimensions of space in front of the painting and into the viewer's world. 

The painting is of one picture containing different systems made by a collage-like style. It is up for the viewer to organize the cybernetics within the work to begin to understand their inner projections at play within the painting. The landscape coming together within the work engages the viewer to reflect the hidden landscapes within the viewer themselves.
Troperlith Ectokron sympathizes with 'The Others' series and 'The Forest' series. The paint is applied with a collage-like style creating systems of drips, thin transparent areas, thick sludges, illusionistic spaces, flat planes, and a series of 2" resin cubes on a shelf attached at the bottom of the painting. 

These cubes are filled with green reindeer moss, a quartz crystal, black beetle parts, tweezers, bumble bee sea shells, a honey bee and radish roots, copper bb's and wire, human hair, white plastic, and organic cotton. The create a scale to measure the rest of the painting by, but also they add another dimensions of space in front of the painting and into the viewer's world. 

The painting is of one picture containing different systems made by a collage-like style. It is up for the viewer to organize the cybernetics within the work to begin to understand their inner projections at play within the painting. The landscape coming together within the work engages the viewer to reflect the hidden landscapes within the viewer themselves.
Troperlith Ectokron sympathizes with 'The Others' series and 'The Forest' series. The paint is applied with a collage-like style creating systems of drips, thin transparent areas, thick sludges, illusionistic spaces, flat planes, and a series of 2" resin cubes on a shelf attached at the bottom of the painting. 

These cubes are filled with green reindeer moss, a quartz crystal, black beetle parts, tweezers, bumble bee sea shells, a honey bee and radish roots, copper bb's and wire, human hair, white plastic, and organic cotton. The create a scale to measure the rest of the painting by, but also they add another dimensions of space in front of the painting and into the viewer's world. 

The painting is of one picture containing different systems made by a collage-like style. It is up for the viewer to organize the cybernetics within the work to begin to understand their inner projections at play within the painting. The landscape coming together within the work engages the viewer to reflect the hidden landscapes within the viewer themselves.
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Troperlith Ectokron
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Troperlith Ectokron Painting

Michael Nauert

United States

Painting

Size: 60 W x 72 H x 7.5 D in

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About The Artwork

Troperlith Ectokron sympathizes with 'The Others' series and 'The Forest' series. The paint is applied with a collage-like style creating systems of drips, thin transparent areas, thick sludges, illusionistic spaces, flat planes, and a series of 2" resin cubes on a shelf attached at the bottom of the painting. These cubes are filled with green reindeer moss, a quartz crystal, black beetle parts, tweezers, bumble bee sea shells, a honey bee and radish roots, copper bb's and wire, human hair, white plastic, and organic cotton. The create a scale to measure the rest of the painting by, but also they add another dimensions of space in front of the painting and into the viewer's world. The painting is of one picture containing different systems made by a collage-like style. It is up for the viewer to organize the cybernetics within the work to begin to understand their inner projections at play within the painting. The landscape coming together within the work engages the viewer to reflect the hidden landscapes within the viewer themselves.

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:60 W x 72 H x 7.5 D in

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The illusions of familiarity we hold onto for comfort can keep us from something we don't realize we are passionately in love with. Illusion and realism stunted my understanding of art until I experienced the beauty in the way my body, hands, and mind express. I sensed a love for my natural state. When I painted in the jungle for a summer, my illusions of failure, sustained by self-sabotage, fell apart. I let myself reconnect to things I loved — exploring and painting in nature. This event opened up abstract painting for me. Through abstraction and color I destabilize the illusion of “a place”. When paint has space to be paint (oozing, pooling, dripping, gritty, bright, and slimy smooth alchemical sludge) it can be unsettling, especially after its history of realism. Though it can be agitating, abstraction celebrates all of the qualities of paint. In the same way, we can make room to value our intrinsic characteristics through the unnerving acknowledgement of ourselves. I paint nature because it is the environment that sustains life, and from it we can resonate the life within ourselves. Nature tunes us, and in dissonance exposes our illusions. It speaks to our natural state below the ego. As nature calls us to journey through our boarders, we discover who we innately are. In admiring these findings we can make a place for ourselves. Slipping in and out of the familiar through abstract mark making, I draw parallels between nature and human nature in hopes that viewers will discover and cherish more of their inner-landscapes.

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