Marina Ross
Marina Ross (b. 1990, former USSR) is an artist, instructor, and curator based in Chicago. She earned her MFA in painting from the University of Iowa in 2018 and her BFA in painting from the University of Illinois at Urbana-Champaign in 2012. Her work has been exhibited in New York at Sugarlift, Friday Studio Gallery, Art Helix, and Highline Stages, as well as throughout Chicago at Goldfinch Gallery, Heaven Gallery, The Franklin, Sulk, ARTRUSS, and Baby Blue Gallery, among others. She received the Illinois Arts Council Individual Artist Support Grant, the Loyola University Professional Development Grant, and the Stanley Award for International Graduate Research from The University of Iowa to attend the Saint Petersburg Artist Residency in Saint Petersburg, Russia (2017). Her work has been reviewed in Newcity and the Chicago Reader, and is held in numerous public and private collections. Ross runs a critique group for professional artists in Chicago and teaches art at Loyola University Chicago.
Artist Statement
My current paintings draw upon the beloved 1939 American fairytale The Wizard of Oz as a framework for exploring loss, memory, and personal/cultural trauma. After the loss of my two-year-old son in the summer of 2022, I began to examine the film as a way to process this event. This series evolved from my previous work, which investigated iconic and tragic American actresses such as Judy Garland. I use a heightened sense of color and touch to create spontaneous images that are often described as ethereal, dream-like, or fleeting. My paintings are typically created in one sitting, where I return to the same image—such as a portrait of Judy Garland's character, Dorothy Gale—and reproduce it serially in subtly different variations. This process acts as a performance or rehearsal, where I recite the same lines in varying inflections.
The legacy of the film and its iconic images, such as the poppies, has become an area of focus, as I depict these long-standing, ubiquitous symbols in quick, intermittent paintings. In other words, The Wizard of Oz serves as a mask of strength and power in the face of fragility and impermanence. I use these discordant ideas to subvert audience expectations of positive childhood memories and nostalgia when recalling the film. By injecting my personal narrative into the cultural storyline, I disarm the initial instinct to suppress or minimize the difficult emotions that accompany loss, creating a space to honor and remember the past.
www.marina-ross.com
What initially drew you to art?
I felt like I was being seen by family members and teachers who noticed my work. As I got older, I received more recognition, which inspired me to continue pursuing it. I found that art-making was a vehicle for connection and community. Through the act of creating, I was able to foster a profound connection with myself and share that with others.
What elements of your life have ended up becoming a part of your art?
I immigrated to the U.S. from the former USSR, so that experience, along with my Russian-Jewish identity, is deeply ingrained in my work. I have always been fascinated by the concept of transformation, particularly in relation to the American Dream and its impact on women. Like many immigrants, my family had high expectations for me and expected me to succeed. I process that through images of iconic American actresses who, while achieving great success, also experienced tragedy. In the summer of 2022, I tragically lost my two-year-old son, and I began to focus exclusively on The Wizard of Oz as a framework for both memory and grief. I chose a metaphor that was universally known and beloved, but I use it to process difficult experiences and emotions. I aim to trigger positive memories in my viewers, drawing them into a deeper conversation about loss and childhood.
What about your practice do you find the most fulfilling and/or energizing?
I love collaborating with others and sharing my work. Having exhibitions energizes me, and creating work for exhibitions gives me a strong sense of focus. I view my work as a form of performance, where putting on an exhibition is about constructing a specific environment and "performing" in the space with the work. I find that creating and exhibiting work is a dynamic form of self-expression that can inspire others to create new realities for themselves. My practice allows me to metaphorically try on different outfits and become various versions of myself, all while constructing the person I want to be in the world.
Tell us about your experience getting to where you are now. What has been the most important thing you’ve learned?
I earned both a BFA and an MFA in painting. I lived in New York City for a short time and have been based in Chicago for the past five years. During this time, I started a family and had a child. I have worked a variety of odd jobs, spent time in the hospitality field, and taught at the college level. Recently, I have been able to focus on my studio practice full-time. This experience has taught me that time is my most valuable resource, and I now know that I want to spend it investing in my work. The most important lesson I’ve learned is how to face ambiguous or insecure feelings and move forward despite uncertainty.
How has ‘community’ impacted your artistic practice?
I was always searching for community and connection through my work. I didn’t feel a strong sense of community until I moved to Chicago. When I didn’t have a close-knit group, I created my own, seeking a sense of belonging. As an undergraduate student, I organized a Life Drawing Club. While living in New York, I co-founded the NYC Creative Salon, a small discussion group for artists. Currently, I run a critique group in Chicago. A significant part of what we do as artists is foster community, recognizing that community is essential for general well-being.
