The London-based artist speaks to ArtReview about influence, abstraction and materialism
The London-based artist Marigpa translates their profound travel experiences into a captivating mixed media artistic language. Their work, primarily oil on canvas, plays with the vibrant, metallic hues of gold, silver and copper – colours universally associated with luxury, warmth and spiritual enlightenment. Marigpa’s canvases arrange like tapestries, their metallic tones interwoven with diverse artistic elements to exude an aura of opulence and tranquility. Marigpa’s art works toward the essence of life’s beauty and complexity. They spoke to ArtReview about influence, abstraction and materialism.
ArtReview As an oil painter, your form has a long and established art history. Where do your own works begin?
Marigpa Beyond the traditional medium of oil, I frequently integrate mixed media into my practice, allowing for a broader range of textures and expressive possibilities. My creative process is deeply rooted in personal experience, ignited by a profound feeling, an emotion or a connection to a lived moment. These moments, often triggered by travel, encounters with natural beauty, or spiritual reflections, serve as the initial spark. The technical aspects of painting – the layering of oils, the blending of pigments, the historical context of the medium – are tools I employ to articulate that initial feeling, but the core inspiration is always the emotional genesis. It’s about translating an internal experience into a visual language, allowing the viewer to share in that emotional journey.
AR Which artist(s) had an influence on your work, in the artworld or otherwise?
M Rather than focusing on individual artists, I find inspiration in the broad sweep of cultural periods and art movements that have shaped human expression throughout history. My artistic journey begins with a fascination for the earliest forms of human creativity, such as the ancient Egyptian cave paintings and Fayum mummy portraits, which reveal a raw, unadorned beauty and a profound connection to the spiritual realm.
Moving forward, I am deeply inspired by the intricate details and storytelling found in Persian miniature paintings, and the masterful craftsmanship of Mina’i ware from the Mongol period Persian ceramics. These periods demonstrate a sophisticated understanding of design and narrative. My spiritual and symbolic sensibilities are further enriched by the profound expressions of faith found in various cultures: the spiritual depth and symbolic language of Mayan Totems, Byzantine icon painting, Thangkha paintings, and Native American Totems all resonate deeply with me. These works convey a powerful sense of connection to the divine and the natural world. The Renaissance, with its revolutionary emphasis on humanism and perspective, has significantly shaped my understanding of form and space. This period’s focus on observation and realism has provided a foundational understanding of how to depict the world around us. Later, the CoBrA movement, with its bold, uninhibited expression, has influenced my approach to form and colour, encouraging me to embrace spontaneity and emotional directness in my own work. Though ultimately, my greatest inspirations transcend specific periods and cultures. The vastness of the galaxy and the natural world constantly remind me to embrace change, presence and the interconnectedness of all things. Their inherent diversity and vibrant energy are akin to the shimmering, transformative qualities of the metallic hues I employ in my work.
AR You’ve called yourself an adventurer. Tell me about how travel has influenced your work. How does the nature of travel, and ideas of ‘foreignness’, relate to artmaking?
M I appreciate that people perceive me as an adventurer. While I consider myself quite grounded, I do possess a strong inclination towards solo travel, often to destinations considered less conventional. I’m driven by a desire to immerse myself in the authentic rhythms of diverse cultures. This immersion has been fundamental to my artistic development, broadening my understanding of the world and challenging my preconceptions. Regarding the idea of ‘foreignness’, I prefer to think of us all as global citizens. Travel certainly exposes me to new artistic traditions, techniques and ways of thinking. But more importantly, it fosters a sense of interconnectedness, emphasising the shared humanity that transcends cultural differences, and this is something I strive to reflect in my work. While it’s difficult to pinpoint the precise influence of each experience, they become an integral part of me, woven into my memories and shaping my artistic expression.
AR How do you understand abstraction in your work?
M For me, abstraction isn’t a rejection of representation but rather a distillation of essence, a stripping away of the superfluous to reveal the underlying truth. It’s about expressing a feeling, place or experience through the fundamental elements of form, colour and texture, allowing the viewer to engage with the work on a more intuitive level. My metallic hues, for instance, evoke a sense of light and space, creating an ethereal atmosphere, while also carrying symbolic meanings that transcend literal representation, inviting contemplation and personal interpretation.
AR You work predominantly with metallic hues of gold, silver and copper – precious metals mined industrially from the earth. What is your work’s relationship to the material world, namely: to land?
M The metallic pigments I use establish a tangible connection to the earth, as they are derived directly from its mineral resources. These materials carry a rich geological and cultural history, reflecting the earth’s ancient processes and the human relationship with these precious substances. Furthermore, my work also relates to the cosmos, expanding beyond the terrestrial realm. I am fascinated by the universe as captured in NASA photography; its vastness and infinite beauty are truly enchanting. The idea that these metallic elements, born from the earth, also reflect the celestial light and energy of the universe, underscores the interconnectedness of all things.
AR Why is spiritual enlightenment an important aspect of your work?
M I think spiritual enlightenment means our consciousness levels. It’s about expanding our awareness, deepening our understanding of ourselves and the world around us. I believe art can be a powerful conduit for self-discovery and spiritual growth, offering a space for introspection and contemplation. My work is an exploration of my own inner landscape, a journey into the depths of my consciousness, and I hope it inspires viewers to embark on a similar journey, connecting with their own spirituality. The shimmering quality of the metallic pigments and the sense of tranquility in my paintings are intended to create an environment conducive to contemplation and reflection, a space where viewers can transcend the mundane and connect with something deeper within themselves.
AR Do you view your work differently between completing it in your studio and its exhibition?
M Absolutely. In the studio, the creative process is intimate and personal, a dialogue between myself and the materials. Once exhibited, the work takes on a new life, entering into a dialogue with the viewers. It’s no longer solely mine; it becomes a shared experience, open to interpretation and personal connection. I am always eager to observe how people interpret and respond to my art, how their unique perspectives enrich the meaning of the work.
AR How do you hope viewers will respond to your exhibition?
M I hope viewers will be moved on an emotional level, experiencing a sense of wonder, tranquility and connection. Ultimately, I aim to create a space for dialogue and reflection, where individuals can connect with their inner selves and a sense of something greater than themselves. I want the exhibition to be an immersive experience, a journey into a space of contemplation and emotional resonance.
AR What’s next for your practice?
M I am continually experimenting with new materials and techniques, pushing the boundaries of my creative expression. I am planning to further explore the interplay of texture and light within my metallic surfaces, aiming to create works that are both visually captivating and conceptually engaging. Early next year, I’m also having another exhibition in Edinburgh, which I am very excited about. I look forward to sharing these new explorations with the world, inviting viewers to join me on this ongoing journey of artistic discovery.
Marigpa’s works will be on view at Hong Kong Arts Centre, 8–14th April 2025, before travelling to the Dundas Street Gallery, Edinburgh, opening 27 February 2026
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