Interview with Marisa Murrow

Los Angeles-based artist Marisa Murrow discusses why nature inspires her, how painting is a means of both expression and connection, and how art transforms a home.

Do you come from an artistic family?
Yes. My mother was trained in the arts, my uncle is a potter, and other family members are designers and musicians. I was encouraged to be creative growing up and danced for many years. My parents also impressed upon my brother and me that we must be culturally aware of the arts, whether it’s fine art, music, dance, or theater.

Were you drawn to other artistic endeavors?
I was always interested in horticulture and fine arts. The scientific side of horticulture did not really excite me, but the plants did. I have been working as a professional floral designer for decades and spent time in the field of landscape design. Once accepted into Rhode Island School of Design, I fully committed to pursuing a painting career.

Your portfolio focuses on a variety of subjects, including mobile homes. What draws you to them?
I love the sameness of the structures. For the most part, all mobile homes look alike on the surface; the series is as much about the homes as the paintings themself. I find that the subject matter keeps me curious and challenged. I am very attracted to the idea of community and the sameness of these particular buildings—they are a metaphorical celebration of human connectivity. To get to know someone beyond the surface, we must go inside: a place where we are all decorated differently by life experiences.

Do you ever experience a conflict between creativity and practicality?
When painting full-time, it becomes a business, making you naturally more aware of time. Not everything needs to be quantified—it’s important to explore and experiment. For example, I started a series of abstract paintings while in residence at the Vermont Studio Center, and they have never been exhibited. That’s thirty-three paintings! I’m OK with that because they were something I just had to do. I’m very proud of them; they are completely different from my other work, a secret side of me.

You primarily use acrylics and oils. Do you have a preference?
For twenty years, I worked exclusively in oil paint and never considered anything else until one day when I received a commission from a mobile home park investor to create thirty-one small paintings. With a tight deadline, the only way I could fulfill the request was to work in acrylic.

I love blending colors, and when I work in oil, I often spend several hours mixing paints before I begin. With acrylics, you must mix and use them right away, so there’s not as much flexibility. But it’s a very exciting medium because it’s so immediate.

Where’s your ideal place to paint, outdoors or indoors?
Out of necessity, I initially worked outside; I didn’t have a studio for the first nine years out of art school. Fortunately, I’ve always loved the expansiveness of nature, where everything is possible—it is where I gather all my ideas. Ultimately, I love plein air painting because it is like going on an adventure. I can feel the wind and smell the ocean, and everything is pulsing with energy. Occasionally, people come over and ask me about what I am working on, and I like sharing my process.

Such connections with my community are extremely important to me. I grew up in a small town on the coast of California, and I knew all our neighbors. I still want to know all my neighbors. I think that there is a lot to learn from other people.

Having a studio space has greatly improved my art and the way I work. My studio is also a controlled environment: it is safe and quiet. Just beyond the enclosed patio, there are restaurants, grocery stores, and people walking up and down the street; I am never lonely. I like that duality.

Do you ever experience artist’s block?
I actually experience the opposite: I feel like I don’t have enough time to paint all the ideas I have! Sure, sometimes a painting isn’t working. However, I know that by spending more time with it, something will come about.

There is always the beginning and the end. Artists spend most of their time in the middle, and that is when people tend to give up—starting and completing a piece is exciting, but the journey itself is not always fun. When it’s not going well, just stay with it. You do not want to reach old age and find yourself surrounded by unfinished work that you never quite committed to.

Talk to us about the other side of the equation: art collectors. How important are they to an artist?
Art collectors are vital not just to an artist’s survival but also for creativity to thrive and flourish. It’s incredibly validating to release something I’m proud of into the world for the cultural benefit of society. The more I sell, the more I’m communicating with people and touching their lives. That’s why I do what I do.

Earlier, you mentioned that your paintings convey your definition of home. How can art itself impact a home?
A stunning work of art can transform a room, making it feel full and alive. If you see an original painting or sculpture that speaks to you, buy it! Art is also a conversation starter, and it conveys the importance of a collector’s own artistic expression. A man recently bought one of my beach paintings for his office. He dreams of living on the water and said the painting will encourage him to make the difficult phone calls required to purchase a house like that. That’s what art does: it charges people up about the world we live in.

For more info, visit marisamurrow.com