Artist in conversation: Marisa DeMaria
“It’s hard not to take the dissatisfaction with my work to heart. To any artist reading, I’d like to tell them: Keep going”
Marisa DeMaria, an artist whose work is deeply rooted in the belief that art is a timeless grounding tool for humanity. Her creations are never accidental; every brushstroke, however unexpected, is meticulously dictated by the intricate details of the moment and the unique hand of the artist.
Marisa's art is not just about the physical act of painting but also about the mental process behind it. She believes that each artwork is uniquely engineered by its creator, and each viewer's experience with it is utterly original. This philosophy fuels her ambition to provide a genuine experience for viewers, challenging them to break down visions and expressions into the basic principles of art.
Her paintings invite interaction, encouraging viewers to closely observe the basic aspects of colour, line, shape, and texture that form the fabric of our world. The ambiguity in her work makes the interaction fun, personal, and uplifting.
While her abstract paintings can simply be enjoyable and refreshing to see, Marisa believes they can also prepare us to patiently understand the countless images we encounter and process in our rapidly moving world.
Her work draws heavily from her life experiences - her upbringing in America, her Latina childhood, her journey through young womanhood, and her self-taught art endeavors. These personal experiences often find their way into her art, adding depth and authenticity to her pieces.
What initially inspired you to become an artist, and how did you develop your unique style?
I didn’t find out that visual expression was important to me until I was a teenager. I had met an art teacher who encouraged me to try making art, and once I did, it just made sense. I realized the creative process unleashed thoughts and feelings like no other outlet. It wasn’t until years later that I discovered a love for abstract painting. The intuition and perseverance that it requires from me is a beautiful, painstaking, and necessary exercise for my creative muscles. I ended up studying art history for some years, and even doing work in museums in the States. When I did the job of sharing art with people, I realized it was a language of itself, and I enjoyed speaking it.
In terms of subject matter, what themes or motifs do you frequently explore in your work, and what draws you to these topics?
I want to use the most foundational aspects of art, like line, color, texture and shape, to challenge people to slow down and take time to understand what they are looking at. I prefer my work to be ambiguous and not immediately obvious to the viewer, because I want the connection and interpretation to vary based on the person looking, and be accessible to anyone willing to try.
How do you navigate the balance between self-destruction and re-creation as a way towards conscious Happiness?
Every painting has layers of previous work underneath. Whether it be paintings I’ve moved on from, or dreaded facing, they eventually transform into somewhat of a mirror of myself. Once they do, they are complete. The key is to persevere through that creative process and allow myself to be displeased. Sometimes all the artist has to do is react to the last brushstroke they’ve made, and it can begin to lead them to an entirely new piece. It’s hard not to take the dissatisfaction with my work to heart, and even identify with it. To any artist reading, I’m sure they understand that challenge. I’d like to tell them: Keep going.
Can you discuss a specific piece or project that challenged you as an artist, and how you overcome those challenges?
I recently completed a two piece painting for a nursery in someone’s home. I went in with creative freedom, and decided to allow the restriction of a certain color palette. Commissions can be particularly challenging for me, because so much of my work is a deep internal expression. However, commissions must acknowledge the need and style of an outside source. The tension between these two guiding voices held me back. I decided to go slow, and take frequent breaks. Once I surrendered to being led by the brushstrokes, I began to realize the paintings formed the shape of a fetus in a womb. This was not my original thought, but it made sense with my goal. I let go of my original vision and followed the one that was born by the brush instead. I ended up really loving those pieces. (The mom-to-be did, too.)
How do you stay connected with other artists and keep up with new developments and trends in the art world?
I try to meet artists everywhere I go. Whether it’s exchanging information, taking a photo, or following them on social media, planting seeds in each other’s lives is so important. I find that we are not in competition with one another, and should not be threatened, but should champion for each other’s success as we can all benefit from art being appreciated by the masses.
How do you incorporate feedback from critics and audiences into your artistic practice, and how do you balance this feedback with your own artistic intuition?
I truly don’t consider a work complete until I myself feel it is satisfactory and a representation of myself. I spend time with my work in private, admiring it and putting confidence in it. I make sure to be assured in what I’ve done before showing the public. This way, I can stand by it whether or not it is liked. If I wait to feel reassured and confident by the audience, I’ll be tossed about and lose touch with my intuition. By then, the feedback of an audience can be taken as inspiration for future pieces, rather than a destruction. After all, we all collaborate. Every piece is inspired by my own experience and skill just as much as all of the words and images I’ve absorbed in my life from others.
How do you stay motivated and inspired despite any setbacks or creative blocks you may encounter?
Creative blocks can be devastating. I do not take them lightly. I keep an old or unfinished canvas next to whatever piece I’m working on. If I have leftover paint at the end of a session, I’ll use it up on that spare canvas. Overtime, it becomes something. It is like having a project with no pressure. Its purpose is to eliminate waste and experiment. Keeping that sense of freedom allows me to take a creative deep breath at the end of hours of work, regardless of the mental space I’m in.
How do you feel about exhibiting your artworks with The Holy Art Gallery?
Good came from this. I met artists from all over the world, I was able to travel abroad with loved ones and introduce them to a gallery, and my work is now in homes across Europe. This was a massive logistic learning experience as an artist, and was a lot of fun in the process. The energy of the crowd on opening night was unlike any other opening night I’ve been to. People were so willing to engage and admire. It was encouraging and enjoyable.
Looking ahead, what are your long-term goals and aspirations as an artist, and how do you plan to achieve them?
I struggle sorting through the massive spaghetti of future desires and goals in my brain. I often wish I had more fine tuned focus, so I could dedicate myself accordingly, but that is not how I think. Instead, I pray about my desires and leave them up to God. I always try to be open to risk and new opportunities, and trust that if they don’t work out they were not meant for me. Having my work in The Holy Art Gallery was a great opportunity that really found me. Pursuing it has been a great way to learn more about the world of selling and displaying art. It has been a great place to learn this much. I hope to be in the position of providing those opportunities for artists one day. I would love to display their work and help them find ways to articulate it and sell it if that is their goal. I’m enjoying the season of learning the needs of an artist now, and hope to use that experience to be empathetic to those in my shoes in the future.