Glover's work is commissioned by U.S. Members of Congress, and has sold in Canada and Paris, France. It hangs in permanent collections of museums, universities, congressional offices, federal courtrooms and congressional library. She traveled from Nevada to New York City
to Washington D.C. and Rhode Island creating and exhibiting her one person show Faces In Government; Facets In Culture, with Residencies. 

Glover paints from personal observations through years of experience as Healing Artist, Congressional Portrait Artist, Courtroom Artist, and Cultural Arts Curator, ranging in activities from helping heal and inspire chronic pain patients to incarcerated youth, to representing many rich cultural traditions, to interviewing and collaborating with Congressional members and civil rights leaders, aesthetically representing their issues. Glover’s current work is shaped by these experiences. Her painting vocabulary reflects her growth through helping people through the Arts. She is based out of two spaces: in Manhattan's Upper Westside, and in the cultural district of Johnstown PA.     See affiliations

I paint passionately about social justice and tolerance, rhythms in nature, and manifestations of the inevitable daily collisions of right left brain activity. Atmospheric glazes reveal elements of content like sunlight reveals details it falls upon. Hieroglyph evokes ancestral reflection. And symbolic keys landmark our thought processes wading through daily stimulus.

 ​​​I’ve been painting for 30 years. Originally I was content to paint in a traditional realism style, capturing one’s likeness in figural work. But quickly I grew anxious with that because it wasn’t giving me the tools I needed to convey more about the subject and more of a personal expression. It became important for me to find my own style of combining realism with abstraction…a way to keep enough realism and symbolism to suggest specific information, but adding abstract elements to allow and invite the viewer to bring his ideas and interpretation into the mix. The challenge was to find the right balance between the two, and to find the right medium to communicate through. So even though I had learned a lot at Seton Hill University, I set out to do more intensive exploration. I gained more in-depth knowledge of each new medium, and experimented creating different line and textural qualities.

This resulted in two styles of work. I identified very strongly with both enough to feel like each were my signature style. I continued painting and exhibiting in both styles for over a decade. I call these series of work “Windscape” and “ColorStream”. As time went on, I felt a growing need for these two styles to merge. After a period of further discovery, I settled on my current means of expression. Both styles are fully merged. All of my paintings come from the same place, the same unified point of view. While I work, I call on elements from each, and flow comfortably through the varied medium I’d immersed myself into. I love that I had searched so diligently to learn techniques because now I feel like my process is very informed.

So all of my current work is done in one of these three materials combinations:
     1) Oil on board, with encaustic, and a textural under painting and top glazes.
     2) Water based mixed media painting on board, which consists of a charcoal under drawing, printed and enhanced with color pencil, sealed under gel medium, then layers of further acrylic glazes.
     3) Torch fired, glass fused metals.
I consider myself a painter, no matter which medium I’m using. Even while manipulating the metals and glass, scribing, heating, pulling, and building up textures, it feels like the same expression as when I’m pouring wax onto my oil paintings, puncturing them and then dripping glaze into the surface.

My subject matter is socially conscious, but I use nature as a metaphor. So the viewer is eased into discovery. I’ve had very enriching experiences that inform the content of my paintings, toward social tolerance. My current works lean toward either awareness and call to action, or a direct visceral healing connection with the viewer. Current series I’m painting are: Wind in the Garden, featuring tatooed flowers, about social tolerance, and Rippled Truths, featuring hieroglyph in water scenes, questioning the line between pride and prejudice. Lullabies Lanterns Keys & Trees is part of an upcoming one person exhibit I'm developing, communicating the cross-hemisphere brain function in personal and social healing. 



Marcene Glover Art

"The way I see it, the atmosphere is made up of swirling textures, chunks of light, and resonating shadow. A person's essence cuts through that in a hauntingly clear way, as if carried by the wind, a ripple of water, or these fluid washes of paint....

If we listen closely, light rays may reveal societal messages echoing in hieroglyph."