Shop Update June 2021

…is live!

Since moving to Woodbridge, I have had a lot of time to spend moving and sitting with my artwork. I have hung my own work in bedrooms, dining rooms, and at the top of the stairs. I have let the works speak with each other and with me. They tell me where they belong, and where they want to go.

I often wonder about musicians. Do they have the name of the album with its architecture in mind first, or do they write a few dozen songs and then the album forms from the curated collection. I find, with experience, my painting is becoming more of the former, and less of the latter. Thank goodness. We need structure and discipline in the arts, too.

The number one thing you can do to support me and my future as an artist is buy one of these works. This June shop update reflects paintings that have been made between 2019-2021 that are no longer part of the albums I am recording. (Okay, well, one is, but “Moon” just looks so darn good in her little white frame, I want her to be in someone’s home now!)

I would love to hear your questions and comments, so please reach out.

With Gratitude,


Quarantine Newsprints

The weekend of DC’s first quarantine lockdown was the weekend of my second group art show in the city. Within the month I made the painful decision to evacuate my 100sq ft art studio of four years in Takoma (DC Arts Studios). My determination to forge an art career, the money spent… It all felt like I was being forced to give up.

Caged in an over-crowded economy apartment, now featuring the additional furniture and supplies of my studio as well, I quickly began to yearn for and crave the ability to stretch my arms over my head and work beyond the scale of a tabletop. But, my home, my apartment had only ever been a creative space for writing in my journal, and it certainly was not a feasible space for oil painting.

The resulting collection of newsprints were created, usually in threes, on hands and knees, an area rug by our kitchenette and then taped to the walls of our foyer area for a week or so. They are mostly pastels but other mediums make appearances. They contain lists, symbols, and feelings of hope during the simultaneous chaos and stillness between April to August 2020.

At the end of August, we left the apartment and we left the city. The loss of my studio intensified my desire to “be” an artist, my determination to share art with the world, and the pressure to create “no matter what” deepened my resolve. Creating these messages brought me safety and brought me home.

The video below was originally intended for instagram but was not successfully published there because of the sick, sick beats I chose to play while I was going through the works, which belong to sony music and not to the world. I also recognize the resolution is low and you can’t read a lot of the text on the works. And, (one last disclaimer!) I am not a huge fan of my improvised commentary so feel free to watch it on mute. Or, if you’re a fan of the tunes, check out my curations on spotify.

These are all available for purchase for $15 per newsprint + shipping, so hit that screenshot or get in touch with me if you see something you like.

Video (<10 min):

Quarantine Newsprints
Recorded on December 30, 2020
Woodbridge VA


Slow growth! Here are four works I made in the last quarter of 2020. It’s a cloudy day and I just love having paintings side by side on display for photos. It really helps me view my own work in a constructive way. The largest one here is 18×24” and the smallest is 9×12” so it is a bit of a chore to get a photo like this! We made it to the nadir of darkness – midwinter – solstice solace! It is easy to take our own progress for granted. These are all trees on Powhatan / Algonquian / Doeg lands. The top right is acrylic, the rest are oil.

No Calendar This Year

First of all, thank you to the new blog followers! Since I am new to WordPress in general, it really tickles me to know that people would stumble on this website and want to subscribe to my updates. Thank you!

My, my, my…. Last Friday marked the time I began calendar sales for 2020, and I remember being so happy as orders began to roll in and I created a book of work from my years in the studio at DCAS. It was the first real showcase of my identity as an artist, my direction, my style, and so on. The experience, the sales, the publication itself was so important and validating. At the time, I would have never guessed the situation I’d be in today.

My little world has faced a lot of loss this year. I want to so badly jam a few photographs onto a website and call it a “calendar” – but the reality is I am not able to create a cohesive set of twelve (thirteen with the cover) works. This year, I have had irons in a lot of different fires. I am working with no functional studio space, and I am living during a pandemic. I have limited access to a vehicle. It is true that I have produced a handful of plein air works this year, but it is nowhere near enough to fill a calendar and not reuse some of the material from 2020’s print. I could, alternatively, throw in a mix of political art, inktober works, and the other treasures I have created this year – but that does not satisfy my pride or ego in the least.

I am applying to local things, here and there. My days are filled with considerations and possibilities. I want to travel, learn, and take bigger steps in bigger spaces. I want instruction and competition.

Here is a simple collage of works. It is a good way to look at what styles are emerging in my paintings, but it really is such a small fraction of what I have actually done. I guess this represents the “serious stuff.” Eyeroll! My soul is pushing in other directions, too, that are a little more fiesty than what you see in these pretty pictures.

Well, if no calendar, I guess I can always mail out some post cards. Or you can just save the picture and print your own.

the Parisian Collages

The Parisian collages were made from photographs taken by my Uncle Tom in 2017 and cut outs from an unnamed French magazine, on top of legal size envelopes.

They were my first major creative output after moving to Virginia in the fall of 2020 and leaving the studio, with the exception of newsprint sketches and plein air painting.

I am also including below a series of my photographs (via posts on badjujumonger) that I took on that Paris trip, where I was engaged. The phone with my original photographs has been lost to the bottom of the Potomac River.


Dendrites & Dryads!

What can I say, I really dig being among the trees. They are historians, ancestors, medicine, shelter, and so much more. But, they are in danger and my heart breaks as we continue to deforest and clear land even into 2020, while so many homes, buildings, and even cities sit vacant.

Please send inquiries about paintings to marellemushroom at gmail dot com.

Thank you for looking!
Always share artwork images with the appropriate artist credit!
or Tag me @marellemushroom_art

Plein Air

When I paint plein air, I feel a little bit like I did as a child in the dentist’s office waiting room, solving the Magic Eye puzzle books in the 90s by jamming my eyes up close to the page and focusing on everything and nothing at the same time.

But, there is a magic communion that also happens in a location, in energy, as well as artistic exhibitionism. performance art, and bravery. There is a lot that goes into that site and situation.

I want the viewer of the finished work to feel all of that, and escape their site, and their situation. even if the impression lasts for just a second.

I began painting outdoors in 2018 and don’t have any plans to stop, ever. I am open to location-based commissions.

Works found on this page are done in both oil and acrylic paint, and are titled below. Scroll through to see some scenery and finished works. Use the contact form for any inquiries, or email me at marellemushroom at gmail dot com.

Nansemond Tree, Suffolk VA, 2018 – Sold
Banana Bo-Tai, Myrtle Beach SC, 2019
Smoke Spot, Washington DC / Rosslyn VA, 2019 – Sold
Dupont Fountain, Washington DC, 2020
Carousel on National Mall, Washington DC, 2020
Cherry Trees on Tidal Basin, Washington DC, 2020

Forty Flowers

This content has been copied from my old Wix website from 2019, but I would like to have it archived here. You may view my original Wix site at:
I have added a large number of the paintings to a gallery at the bottom of this page, which may take a great deal of time to load. Take a few deep, calming breaths while you wait. 🙂


Forty Flowers: A Project in Progress

In the autumn of 2018, I embarked on a straightforward winter time challenge within my studio: to paint forty flower still life works before the New Year. I figured, I worked near a florist, and every grocery store has cheap flowers for sale. It was interesting enough, practical, and perfectly doable.

I naturally gravitate toward the “metrics” of realism, where accuracy in representing objects as accurately as possible. Observational work requires rigorous practice, and it implies a sort of “measurable” artistic skill that – at the time – I thought would lead me to feel more safe, confident, and reasonable inside my head and inside the studio.

I started from a very elementary background in oil painting, having one or two formal classes in the medium, with notoriously bad attendance.

Thus began a labor of experimentation with the media that surrounds the medium of oil painting —

In the project I painted on canvas panels, CanvaPaper, unstretched canvas, wooden boards, reclaimed canvas, and of course, the traditional stretched canvas.

I experimented with primer, or not,
Base layers in color or grisaille, or not
Always ​enriching the tools in my artistic toolbox – metaphorically, developing the “know-how”
Discovering​ what were​ favorites​, listing what new materials I wanted to buy when I could afford it,
Mediums, varinishes, always yes or no-
How the hell to paint white petals-
And finally learning to sign my work, and developing a suitable signature. To my surprise, that was a deeply humbling challenge​.

I also have a lot of ambition toward working outdoors, en plein air. The project taught me to work more efficiently than ever before, set up faster, see the composition faster, mix colors faster, and clean up faster. These routines developed slowly and organically but are so integral to doing the work.

In sum, my goal with the forty flowers project was to improve – in every way. And after all, it was Manet who said, “A painter can say all he wants to with fruit, or flowers.” And now, at ​the conclusion of my floral study, I would say, for the most part, ​he is right. Paint talks. We listen to the color and the texture. But I also found the need to add a few knives, mirrors, and shiny things, too.

An Aside: The most invested of my friends may count fewer than forty flowers have been listed for sale here, and some floral works that date back to even before this project was hatched in my brain. At the time of this website update – a feat in itself – some had already sold, some were rubbish, and some have not yet been made. I have plans for a grand finale for this project, works 38, 39, and 40. Your support will get me there, and beyond.”

For those reading at the time of posting this, the aforementioned “grand finale” and result of this work became the “Femme Flag” of 2020.