Renkenstr. 9 (Bachern), D - 82266 Inning Phone +49 8143 997500 Fax +49 8143 997501 E-Mail: h.wallenbergt-online.de

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	Born in Wilmslow, Cheshire, Great Britain
	1964-67 College of Sarum St. Michael, University of Bristol / Arts and crafts / Studies completed with distinctions.
	1967-78 Teacher (scale 3) in various British schools. Neither the time nor the energy to pursue own artistic career.
	1979-80 Left the teaching profession. Refresher course as a guest student "Drawing and Design" University Maryland.
	1984-88 Studied Art History and Art Criticism. Bachelor Of Fine Arts. Studies completed with distinctions. Start of own artistic career.
	1988-91 Bachelor of Fine Arts First Class Honours.
	1990 First solo exhibition in Germany, opened by the Director of the British Council, Baden Wuerttemberg & Bavaria / Catalogue.
	1993 The university course "Philosophy of the Arts" successfully completed.
	1996 Retrospective in the Art Gallery of the Bavarian Landesbank Munich, opened by Her Majesty’s Consul-General, Munich / Catalogue / Radio interview ORF Salzburg, Austria.
	Favorite medium: oil on canvas. Favorite themes: sports (especially golf), nature and music.
	Explored in combined surrealistic, abstracted, spontaneous wild or controlled geometric modes, Celtic-inspired works, heraldic paintings. The Art is available as either signed originals, limited-edition prints or OV-ART oil/canvases. Catalogue on request.
	Memberships: C.A.G. Southern England, Bundesverband Bildender Künstler, Federal Organization of Professional Artists.
	Exhibitions: Bulgaria (Gabrovo, Intern. Biennale), Germany, Great Britain (Ascot, Christchurch, Cobham, Jersey, London) and Unitied Arab Emirates (Dubai).
About the artist "Suzanne’s paintings refuse to be published into a stylistic cubby-hole. Her artistic spectrum embraces and combines the visual language of the Realistic and Surrealistic just as readily as the Expressive or Geometric-Abstract. Figures and objects, either rendered with a photographic accuracy or reduced to a mere form-quotation, are often bound into a composition dominated by linear structures. For example, in "Portuguese Open", the blue of sea, sky and pools, the typical lace and tiles of the land, the gold of the cliffs and the triangular sails of boats are all subsumed into a geometric composition structured around the linear golf-clubs which, on a psychological level, contrast the inner mental barriers of modern life with the vast of freedom of nature behind. "Sliced" is the outcome of the impact made on her by a newspaper story, which reported that a knife stuck into a toaster to remove a bit of jammed bread resulted in the lights going out in the entire quarter of a major American city. The associative elements of knife, heat-source, cable and city skyline at night are held together by the linear compulsion of the toaster's slits to form an abstract composition. Whatever stylistic direction the British artist’s paintings take, the spontaneous is fertilised with a love of precision. This can be seen in her time-consuming painting technique with its many layers and glazes, the close attention to relevant detail, the perfect balance of composition and hue, right down to individually made frames. Her studies in art History and Philosophy have given her the power to recognise and cut herself loose from current dogmas and expectations, such as the belief that an artist should only have one style. "Today’s multifarious artistic possibilities are so much a part of me that whatever work I have in hand takes naturally that visual expression to which it is best fitted. It would be as ridiculous to restrict me to one style as it would be to restrict a poet to writing in heroic rhyming couplets. This is not to say that I do not possess an individual and recognisable "handwriting". Bold colours and contrasts, a fascination for straight lines and geometric compositions inspired by Pueblo Indian Art, Gothic Heraldry and the clear light of southern Europe join with symbolic undertones to run throughout my varied works." Dr. Erika Wäcker, Art Historian, 1997, München Mosaik Artist’s Statement I was once told by an art professor that to be successful I need at least a hundred paintings in one, and only one style. Horrified at what I experienced to be an artistic straightjacket, I asked "Why?". His answer: "A gallery must market you. Your name is your indentifying label, like "Bordeaux" identifies a certain kind of wine. But look at you! You paint surreal, abstract, geometric, wild, illusionistic. How can a gallery market that? It's as though the name "Wallenberg" sometimes represents wine, but equally soup, vinegar or even gasoline!" If one asks what this has to do with the aesthetic or the creative, which alone form the factors for artistic decisions, the answer of course is "Nothing". I grew up with all the ideas and directions of modernism and post-modernism. And as Art has won it’s freedom from the earlier constrait of being expected to paint in the Greco-Romano mode, I see neither political nor aesthetic necessity to reject per se the academic accomplishments of the past - my studies in Philosophical Aesthetics have freed me from many a modernist dogma. As a consequence, today’s multifarious artistic possibilities are so much a part of me that whatever work I have in hand takes naturally that visual expression to which is best fitted. It would be as ridiculous to restrict me to one style as it would be to restrict a poet to writing in heroic rhyming couplets. This is not to say that I do not possess an individual and recognizable "handwriting". Bold colours and contrasts, a love of straight lines and geometric compositions (inspired from early childhood by Pueblo Indian Art and Gothic Heraldry) join with symbolic undertones to run visibly throughout my varied works. The dimension of the symbolic is often explored and extended in poems. Suzanne von Wallenberg, B.A. (Hons)

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