Painting a set of portraits that magnify the memoirs of a multitude of multifaceted black people - expanding far beyond the normal monolithic myths, Marisa Luana Quartin has caught the attention of the Instagram black art community. Starting with a natural linen canvas, she applies muddy brown acrylic paint to the heavily textured beige surface to craft the faces of her subjects. As the paint seeps slowly into the minute gaps in the hatching, becoming one with the canvas it shows no sign of losing its integrity, conversely becoming more intense. With its red undertone, the brown hue marries well with the bright white, pink and muted duck egg paint that has been chosen to give light and shade to faces of the authors of this canon of black stories.
In Daddy Lessons, the protagonist is a father with a mane of tight, yet soft curls, that substitute a pillow for his young cub who rests so peacefully on his head. His soliloquy swaddles us the way his protective hand soothes his ‘sun’ who sleeps safe and sound wrapped in the silken shawl of his father’s silent serenade. Having graduated from the same father- son school, the leading man of It’s Bedtime silently steals some sacred seconds with his young heir to the throne as he carries his exhausted and limp body to bed, hand mimicking the softness of duck feathers to not shatter the sleeping boy’s slumber. In White, Gold and Camomile, a songstress shares with us a sumptuous sonnet unveiling the secrets of self care, not to be mistaken for self indulgence. Like the other authors she controls her narrative. She chooses what to expose and what is to remain concealed under her gold wrap.
a set of portraits that magnify the memoirs of a multitude of multifaceted black people - expanding far beyond the normal monolithic myths
Intrigued by the identity of the artist using their brush to invigorate these stories, I too followed the work of Marisa, @mlq.art. However, after a short while I noticed a drastic change in her work. Having been inspired to challenge herself as an artist and explore a talent re-discovered in the wake of a global pandemic, Marisa started to release an abstract series taking inspiration from global proverbs.
Breaking away from the realistic style of her previous works which exude heavy emotions through the earthy tones, lacquered on the natural linen canvas she distinctly used, the new abstract series was bright, colourful and full of age-old wisdom; a delight for the eyes and mind. Incredibly quirky, this series had me tickled. I waited in anticipation to see the next instagram post displaying Marisa’s fun yet sedate interpretation of a saying uttered by grandmas world over to their haphazard grandchildren full of confidence but lacking experience of the world.
After further inquiry I discovered that this diverse talent was, as she described, ‘the world in a person’. With roots in Angola, Portugal and Trinidad, Marisa was the definition of a mixed heritage artist inspired by the nuances of the individual cultures experienced, but also the blend. Interested to know more about her, I sat down with her to discover where her love of art came from, the reason for her change in artistic direction and how she had been embraced by the black art community.
Explain your journey into art. What is your earliest memory of you engaging with art?
From primary school I’ve always been super interested in art. Although when I look back at what I drew then, I think it’s not very good. Even so, I do remember getting compliments from friends. So I’d say that since I was about 7 I loved it [art]. But, I did it for GCSE and that really took away the fun from it. I didn’t touch it for a while and I only got into it again just before 2020.
Why do you think your art education didn’t inspire or engage you?
It’s mainly because at the GCSE level they encourage you to copy other people’s work - famous artists’ styles and not encouraging what you’re interested in. It was also very essay based and I don't think that art is something you should have to explain so much. People are meant to take what they take from it and that’s what really put me off. I felt like I don’t really want to explain what I’m doing, it should just be the feeling within it that speaks for itself. It was also just so technical and it’s very much white-washed as well. They look at the top set of [white] artists. I never had exposure to African or Caribbean art, or even Asian art or Chinese art. There's so many methods used around the world and so many different mediums that we just didn’t get the chance to explore. I think at the time of my GCSEs I couldn’t really verbalise why I wasn’t loving it, but looking back on it, I think this all has something to do with it.
If your education didn’t inspire you, what has caused you to take up art now?
I’d always struggled with depression and anxiety throughout university and it just got worse and worse. I was trying to figure out ways to cope with it and find an outlet so I wouldn’t have to think about things. It was in October 2019, I discovered this company in the UK, it's called Master Peace and they centre themselves on mindful painting. I decided to just give it a go. They really encourage you to start painting and it's a really peaceful atmosphere and they give you the medium. Whilst I was doing it I was like I really do love doing this. After that I just started researching more, trying new styles and it was just really rewarding to see what came out, and my work got better. It was interesting to see my practice develop and I’ve enjoyed learning about different artists. Also joining Instagram and becoming part of the art community has been great for motivation.
What have you taken from the formal art training you had in school?
The technical things like mixing paint and generic rules of how to apply it to paper, starting off from light to dark. Also the speed of painting, it’s a really quick turn around at school, so that’s something that’s really helped me because I now complete paintings quite quickly and I do think that’s definitely to do with that training from the beginning.
Developing creativity, being inspired and encouraging engagement with art, is that what you would say your education was lacking for you?
Yes, I would definitely say so, we didn't really go to exhibitions as much, which is something I’ve done as an adult a lot more. Beforehand, in school the only time we’d ever been to an exhibit was to the Tate Modern and it's a very specific kind of art which a 15 year old isn’t really inspired by. Nowadays I’ve discovered there's so many exhibitions and lots of pop up ones too. I feel that if I had been aware of this when I was younger, maybe I would have carried on studying art for my A Levels and instead of taking that time out would have carried on with it because I could see a pathway. However, at the time, for me when I saw things at Tate Modern I was like, 'someone’s just drawn a line on it and it’s worth millions of pounds'.
How has being on instagram influenced you as an artist?
It’s driven me to create more, create more content and see people’s reciprocity towards it. I’d definitely say seeing people’s styles really influences me as well. I think it's been really interesting for me as I’ve been developing my style. If I think back, before I was scared of abstract, I was like 'I’m not an abstract painter, I’m very realistic, I wouldn't even know where to start.' but just seeing how other people work has opened things up for me. It’s kind of scary at first but then you try new things and see how it goes. So, I definitely think the art community on instagram allows for growth and testing and experimenting, and we help one another, we give feedback. It’s also been great for getting exposure, with the open calls and artists will tag you in comments of things they think are applicable to you. I’ve also gotten some magazine features through the platform. It’s super cool.
I definitely think the art community on Instagram allows for growth, testing and experimenting.
What is your impression of the black art community online?
All of the main successes I’ve had as an artist have been with the specific black art communities. My first exhibition was with Zari gallery for Black History Month, which is still probably the biggest deal to date because it was a central London one.
What I have also noticed cropping up more and more are mainstream or non-black owned art houses that encourage black people to participate. I think it can be a bit performative at times especially since the BLM movement of 2020, but for the most part it’s important to atleast have a presence and assist in moulding that. In terms of the black owned art agencies, I think it’s great, two of the ones I’m a part of: Blk Art House and Zari gallery, are owned black women. They allow for a voice to be given to under represented artists and give a platform for people to spread their work. This is really important especially for emerging artists. I think it’s great and there should be more of them.
two of the ones I’m a part of, Blk Art House and Zari gallery, they’re both owned by black women. They allow for a voice to be given to under represented artists
What has been your experience as a mixed race woman in the artworld?
A mix, both positive and some negative. In terms of positive, it has been great to be represented as a black artist and having that notion put forward, as I’ve often had to explain and deal with questions like ‘What are you?’ 'Human!' I want to respond. However, within the art community it has not been so much of a question I would say. It’s been something that’s been much more celebrated, being black, being mixed race. Conversely, at times I have been asked specifically what are you? it’s not happened too much in the black community, but when I’ve been working with publications, they definitely ask to clarify it. It’s not something I feel I should have to all of the time, but it is what it is and I do recognise the state of the world - colourism is very real. For me, I feel even though I might present as very mixed race or racially ambiguous, in essence I would say I’m a black woman.
For me, I feel even though I might present as very mixed race or racially ambiguous, in essence I would say I’m a black woman.
How does your culture influence your artwork?
My family is from Angola on my mum’s side - Angolans of mixed heritage - Angolans mixed with Portuguese, mestiço they’re called. So, in terms of how I identify I’d say that I’m Angolan first and that’s something that really influences my art. I really love African art, specifically West African art, it’s my favourite type and seeing black faces in art is just really powerful. Some of the best art I’ve seen is from Ghana, and also South Africa. On my dad’s side, they're Indo-Trinidadian, but to be honest I don’t know too much about the art culture there, but I have seen some Caribbean art, and I do think earlier on that’s what influenced me with my more colourful pieces. I think now it’s starting to come back, with my new mixture of colourful and earthy in my latest abstract works. My culture definitely influences the content of my work- with my earlier natural linen pieces where the focus was on black and brown faces. The abstract pieces are not so much directly influenced by my culture, because I use proverbs from a variety of cultures, not just my own, which I love. Being mixed race, I feel like I’m pretty much the world in a person and I love to explore different cultures.
What inspired the figures of your earlier ‘natural linen’ works?
I went to Cuba a while back in 2018 and I got the chance to go to a gallery there and I really got inspired there by portraiture. I thought it was really amazing to see a face being really expressive or seeing movement captured solely by looking at the face and its features. With my earlier pieces I definitely wanted to portray someone doing something really emotive or moving. I liked to capture a feeling or movement within the piece, but as well as that, keeping very much the earthy feel. That’s why I feel in love with the natural linen, I think it was just a really beautiful way to make the figure stand out and have that as a central focus with the almost muddy paint on an earthy canvas. This is something I’ve not really seen before- drawing on a natural earthy linen canvas, I love it! It's definitely still my first love.
I feel in love with the natural linen, I think it was just a really beautiful way to make the figure stand out and have that as a central focus with the almost muddy paint on an earthy canvas.
Why have you chosen to portray so many male-female relationships?
It’s going to sound super simplistic, but I just think that love is great. I also love the idea of having more than one person on a canvas. I think you can really show emotion between the two even if they’re not looking at each other, or in the way they're holding hands. I think it’s just a beautiful way to show it. I feel like the world is not super compassionate, and even just having that compassion shown on a canvas, is something I just love. Some of my favourite pieces are the ones where there's more than one subject, whether it be a couple or a mother and child, a father and a son, I love the idea of that connection on a canvas.
You’ve often drawn children, what is it about them that you love to portray?
It’s really linked to the idea of purity and innocence. Even in my personal life I love children and the way they see the world is so beautiful. I just want to capture them on a canvas the way that I see them. I think they’re just like a blank canvas that you mould and they’re the way the world should be. There’s just something so beautiful about children and portraying them. Even the way they gaze, they are very willing to just take everything in.
Tell me more about the male figures you have drawn.
In terms of the male figures, they’re very much centred on some of my family members. I’ve got a great grandad and great uncles, so I definitely want to portray men as strong, but also loving in the same way. It’s not necessarily something that’s portrayed in the media, black men being soft and caring. I think it’s really important to have that in my work. There’s a charcoal piece I have of a male figure in water. I’m obsessed with water, I think it’s the most cleansing thing ever, just being by the sea, being submerged by water and finding strength in that. I think with that in mind, and having been inspired by the movie Moonlight, I created this piece as my own adaptation.
Your style has changed significantly over the course of 2020. You've moved from figurative art to abstract art, can you explain this?
I was actually using oil earlier on in my career to make bigger pieces, works inspired by caribbean art. They were more colourful and bright. Then it was the natural linens portraits using acrylic, browns and earthy tones. Now at the moment it’s more abstract. I'm just always thinking of ways to challenge myself. Also, I had just been really doing small pieces, so I thought I’m going to do larger pieces but also incorporate some new colours. I couldn’t really think what to do, so I started researching online for words that would inspire me and then I just came across a website with different proverbs and thought this is a super interesting idea. Instead of searching for images online of what I wanted to portray, I could just read a proverb, decipher it how I want to and have it applied to a page in a very abstract style. Meaning that I don’t have to be so technical with for example hand placement, as it’s more about the emotion behind it, I don’t have to be technical about having the shading perfect. That’s something I’m loving, being a bit messier, and having more emotion and more movement within the pieces. I love them. There’s some I can’t even let go, I just love having them in my presence.
How have they been perceived in comparison to your other work?
They've gotten a lot better reception, the series has had higher engagement, I've had comments on them specifically and sold piece. They've definitely been really well received.
Why do you think that is?
I think there’s a lot of realism in art, and as beautiful as technical pieces are, I think a lot of the time people think I’ve seen this before. With abstract every piece is completely unique. I can’t really put a finger on it myself, but I love them too.
Based on the success of this series, is this the trajectory that your artwork is going to continue taking?
I don’t know. I’m pretty sure that I am going to reach a point where I’ll want to find something new, but I definitely do like abstract. At the moment, my work is very angular with straight lines, so even if the shift is moving towards curves and more circular shapes or changing canvas sizes, I don’t know, I don't think it'll stay like this forever. But I’m loving abstract because there’s a lot of room to play, a lot of room to experiment and use colour, which is something I’ve been scared of before.
I don't think it'll stay like this forever. But I’m loving abstract because there’s a lot of room to play, a lot of room to experiment and use colour
You’re relatively new to the artworld. You've been received really well and grown significantly in a short space of time, what do you predict your future will be as an artist?
It’s something I’ve been thinking about quite recently actually. I work as a media specialist, which has been insightful with regards to understanding social media and how it impacts art. More and more I’ve been thinking about how I can practice at least part time, so that’s something I want to look forward to in the future. I know that at this point art is not a financially viable career yet, but I definitely think it can be in the future. I don’t want my life to just be waking up and going to the computer. I want to be inspired by the world to sit down and paint, shut off for a while and have a really beautiful outlet. I want to at least become a part time artist if at all possible.
I don’t want my life to just be waking up and going to the computer. I want to be inspired by the world to sit down and paint, shut off for a while and have a really beautiful outlet
To find out more about Marisa Luana Quartin, check out her Creative Bio.
Comments