Since the dawn of time, women have shaped every facet of life—science, industry, the arts, education, family and beyond. Despite making up half the population, their contributions have often been overlooked. For instance, the National Museum of Women in the Arts reports that only about 11% of museum acquisitions over the past decade have featured work by female artists.
This Women’s History Month, we are spotlighting three talented local women artists from Ann Arbor, delving into their inspirations, creative processes and the advice they have for future generations.
Liz Fiero
What first sparked your interest in creating art, and how has that initial spark evolved?
I’ve always loved color; some of my fondest memories were of coloring and designing art with my twin brother and playing with shapes and design. I remember my kindergarten teacher and first-grade art teacher encouraging me to continue to my own creative, original art pieces. My grandmother also encouraged me.
How do you decide on the themes and concepts behind each piece you create?
I am inspired by the universe around me and am especially drawn to nature. Some of my pieces also focus on the interior landscape and dreams. I really believe that artists should not limit themselves to a particular subject, theme or style. I do like to do series, though, and try to at least partially master a subject or technique. I’m dedicated to experimentation, learning, and play.
Can you describe your typical creative process?
I just find what inspires me. With my abstract or surrealist art, sometimes I just paint, make mark making, and continuously alter it until it becomes something new, often many times over. Sometimes, I just practice, and if it doesn’t work out, I recycle it or let other artists paint over it.
Which artists (historical or contemporary) or other influences have had the most substantial impact on your art, and why?
I’ve always been in love with the paintings of VanGogh. The texture and bright colors are captivating. I also really love the art of Ben Shahn and Jacob Lawrence. I truly believe in the power of art as activism and hopefully can incorporate more meaning into my art. I am trying to make my art uplifting as possible with the subjects that I’ve been painting for the last few years to help those that view my art to stay hopeful and see the good in the world.
What advice would you give to other aspiring artists?
Just do it, if it doesn’t work out, keep doing it. Don’t give up, every mistake is a lesson, and if it’s a lesson is it really a mistake? Everything serves to further; don’t be so hard on yourself.
It’s only art. 🙂
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Mary K Murphy
What first sparked your interest in creating art, and how has that initial spark evolved?
My interest was piqued watching my dad doodle after he picked a ‘learn to draw characters’ book. He would create these cute little cartoon figures. It was like magic. Sadly, his skill wasn’t something I inherited. My best drawing attempts were stick figures. There was no art in my small Detroit Catholic school beyond coloring seasonal templates of pumpkins or hearts or flags.
The other early influence was the art hung in our home growing up. There were two small original paintings that I particularly loved. It turns out that both were watercolors. To this day, as I pass by a painting, sometimes there is a magnetic pull to stop and look more. Sure enough, that painting usually turns out to be a watercolor.
As an adult, I still longed to learn to draw and paint in watercolor. A friend, who was a proficient stick figure artist, decided to take a Rec & Ed cartooning class. They showed me their drawing. It was amazing. Lightbulb: You can learn to draw! I immediately registered for “Drawing from the Right Side of the Brain.” It was transformative. It was a wonderful crash course in really seeing. I was hooked. Art became a lifeline that helped reduce my stress from a demanding career in software design. The next semester I signed up for watercolor class, my chosen medium. So began my continuing journey to learn more about art, drawing, painting.
Several years after retiring, I wanted a more formal, immersive art education and to delve more fully into watercolor. It was recommended that I investigate Eastern Michigan’s art programs, as they offered a concentration in watercolor. Could I really go back to school at the age of 69? Tick-tock. If not now, when? Almost on a whim, I applied to EMU’s Masters in Studio Art/Watercolor and submitted my portfolio. To my amazement, I was accepted in September 2019 and graduated in December 2022. I continue to paint in watercolor, exhibit my work, and take classes and workshops. Painting and art continue to feed my spirit, reduce my stress, expand my community. What a gift it’s been.
How do you decide on the themes and concepts behind each piece you create?
I paint what moves or intrigues me. My themes tend to center around nature, the passage of time and seasons, the local buildings and parks that we pass by every day but often don’t really see. My work varies between impressionistic-realism (representational) scenes and very abstracted, expressionist landscapes.
There may be a sunrise that just blows me away. That scene may demand a more realistic approach. Other days, the call is to create what is often called an intuitive, responsive painting.
Then there are times when I just want to try a new process, like pouring watercolor to create a representational piece rather than an abstracted work.
The short answer is “my mood”.
Can you describe your typical creative process?
For representational pieces, I use a structured approach:
It generally starts with selecting one of my photos taken while traveling, hiking, walking around town. Before sketching anything, I study the photo and sketch thoughts to the following topics:
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- Feelings: What moves me about this image? What mood am I trying to express?
- Design: Where is the focal point(s)? What is the design composition?
- Color: What colors help convey the feeling, design? What colors move the eye around the page? What energy is being conveyed (peace? excitement?)
- Crop: Crop photo to support, simplify design
- Create small sketches, value studies (if I’m really disciplined; but I must admit that I’m not always patient enough to do this).
- Decide color palette: In sketchbook, mix small color samples of paint choices
- Decide size of piece
- Draw scene on watercolor paper (this may be reversed with the next step if I’m painting wet-in-wet as will my choice of paper weight)
- Mask areas where white needs to be preserved
- Prep watercolor paper (soak, staple)
- Do a short breathing meditation to settle myself
- Put on classical music (e.g., Mozart; YoYo Ma)
- Paint (at last) but don’t be afraid to respond to what’s happening on the page, to veer from the “plan”.
Abstracted paintings follow a different process:
- Typically, I pour watercolor when creating abstracts.
- Decide on size of piece
- Prep watercolor paper; let it dry. If I’m doing a large piece, I will stretch the wet paper over stretch bars or canvas frame with canvas removed.
- Do a short breathing meditation to settle myself
- Close my eyes and visualize a color. That will be my starting point.
- I begin by mixing that color in varying shades along with other primary colors.
- Put on classical music (e.g., Mozart; YoYo Ma)
- Spray the paper
- Mask or do mark making
- Take another deep breath.
- Begin pouring paints; tipping, dripping, blowing, misting to direct the colors and let them mix on the page.
- Allow colors to blend, to settle. Respond to what is on the page? Does it need more? Is there a focal point. How am I feeling? Is there movement? Are there a variety of shapes and values? Is there harmony or maybe dissonance, agitation?
- Iterate as needed
Which artists (historical or contemporary) or other influences have had the most substantial impact on your art, and why?
- Historical artists: Monet, Van Gogh for their use of color, movement, emotion, abstraction.
- Contemporary artists: Nancy Solo, who was my first watercolor teacher, mentor, and encouraging friend. Ruth Gilmore Langs- also my teacher and mentor who opened my eyes to the world of abstract expressionism. Brian Rutenberg, an amazing abstract landscape painter, for his creative placement of focal points, use of light, color, mark-making, and for his beautiful book, “Clear Seeing Place.” Interestingly, only one of these artists was a watercolorist. What interests me and the joy of art, regardless of medium or style is that these artists are deeply expressive and innovative.
What advice would you give to other aspiring artists?
- Paint from your heart.
- Be a life-long learner.
- Be fearless. Experiment, Play, play, play.
- Paint for yourself, not an audience or a juror. This can become challenging as you put your work out there.
- Work to tame your inner critic:
- Keep painting even as you hear that inner critical start chatting (maybe pause; take a few deep breaths).
- There will always be a point in a painting where it seems like a complete mess, irreparable. Keep going.
- Remember to stop, step back, look. That’s the time to let your little critic have a few minutes. I’d even suggest taking a photo of your work in stages. It is very helpful in revealing areas that might need work. It’s also rewarding to see your progress over time.
- Find an artist community – art center, classes, art shows, museum talks. You might even find a few friends to paint together or visit art exhibitions.
- Art is not a competition. Avoid comparing the value of your work to that of others. Value it for the gifts it gives you and others. And go, be amazed and curious by the work of others.
- Persevere.
- Paint for your heart.
Carol Morris
What first sparked your interest in creating art, and how has that initial spark evolved?
I began writing poetry in my 30’s and wrote and published sporadically until my 50’s. Then I started making collages on paper using a garage find of vintage magazines while on a visit to DesMoines. I did that for many years, selling them in stores and art galleries, before taking art workshops and painting on canvas. I have had many pieces in galleries, and two solo shows in Ann Arbor.
How do you decide on the themes and concepts behind each piece you create?
I work intuitively. Letting ideas appear subconsciously.
Can you describe your typical creative process?
What a question! At first, I refused to answer because it is so layered. Ideas come from nowhere. Emptiness. I have been sustained by taking workshops, giving workshops, seeking museums and street art. I’ve been visually journaling for many years. Images come from the unconscious. I respect, revere and trust them. For example one time I was doing a breath exercise (Stansilav Grof) and a dream of a rhinoceros appeared and he gave me a hoof print. Strength and endurance as well as grace. So, there are several rhinos in my collages and paintings. The color orange is often an inspiration.
Which artists (historical or contemporary) or other influences have had the most substantial impact on your art, and why?
Local artists have the most effect on me. Michigan artists and artist friends who live in other states and the world. I admire Charles Bukowski, Emily Dickinson and Judy Chicago. Russian writers like Tolstoy. Faulkner and Kingsolver are favorites. Yaio Kusama and Yoko Ono are inspiring visual artists.
What advice would you give to other aspiring artists?
Do the practice. Play like a son of a bitch. Fail. Join artist groups, submit pieces to local galleries, and display them in your own studio. Share your resources. Be free range.
Donna Marie Iadipaolo is a writer, journalist, and State of Michigan certified teacher, since 1990. She has written for national publications like The Village Voice, Ear Magazine of New Music, Insurance & Technology, and TheStreet.
She is now writing locally for many publications, including Current Magazine, Ann Arbor Family, and the Ann Arbor Independent. Her undergraduate degree is from the University of Michigan, Ann Arbor, where she graduated with an honors bachelor’s degree and three teacher certificate majors: mathematics, social sciences, English. She also earned three graduate degrees in Master of Science, Master of Arts, and Education Specialist Degree.
