p h o t o s   b y   b e c k e r

As I poured over her work, there seemed to be an interesting tension between images charged with psychologically intense emotion and an unnervingly quiet aesthetic; the repetition of isolated figures work in conjunction with their evasive expressions and contorted bodies to lull the viewer into a dreamy world of melancholic estrangement. 

Looking at each work of art is like walking through a tenuous dream of fine lines that twist and turn into ethereal creatures. You get the sense that drawing is a meditative process for her—a way that she can work through and combine reality, deep-seated emotions, and the beauty of a daydreamer's mind—in order to create a remarkable body of work. 

PASTEL: When and how did you first become interested in art? Was there ever a time when you thought you'd do something different?

ML: As a kid, I was really introverted. Until the age of three, no one but my parents even knew I was capable of speech. I spent my free time devouring books and daydreaming. Painting pictures in the physical world felt just as natural as magicking pictures of heroic characters in my mind's eye. It was a way I could communicate without having to speak—a way I could get people to understand me without having to explain.

PASTEL: Many of your illustrations seem to have strong introspective elements to them. How would you describe your subject matter?

ML: Simple. Often there is only one subject presented, but an intricate array of lines within. My art is meant to be viewed as the retelling of a dream: what appears to be a coherent picture from a distance becomes fragmentary when viewed up close; both conscious and unconscious thought are captured in the intricacy of the design. Usually, I begin drawing when I start identifying strongly with some emotion, be it pain or elation, and try to capture that energy onto paper. The coherent whole of one of my pieces of art shows my solidified intent to portray a picture, but the intricate lines that divide and connect the picture show my unconscious, or rather subconscious, method to reach that whole, complete picture.

PASTEL: What are the greatest challenges you face when creating art and how do you deal with them?

ML: My ego. It's a constant battle. If I let my mind do the talking while I tried to create, I would be plagued with unease and worry. I am my own biggest critic, after every line, every tiny swish-swish- dot, my mind shouts that I've messed up and I might as well start over. Art has helped me to learn to let go of my attachment to my mistakes—to realize they don't define me. It gets easier with every piece—easier to let go and give in to the drawing trance—to let go of anxieties and give in to the current moment.

PASTEL: Do you have a favorite space to work in? What kind of atmosphere promotes the best working environment for you?

ML: I like quiet spaces with lots of sunlight.

PASTEL: As an artist, exposure and vulnerability are somewhat of a necessity to be successful. Do you agree or disagree? Why?

ML: To be successful for yourself, yes, you must be vulnerable and you must expose yourself.

PASTEL: What are you currently reading, listening to, or looking at to fuel your work? Are there any artists that have inspired you?

ML: I find myself very taken with nature. I love the line patterns of bark and the tiny moss cities that grow on a rock. Each of the artists that I'm surrounded with inspire me. I am fortunate to have many creative, caring souls in my life who exemplify the qualities of a true artist both on and off the canvas.

PASTEL: What's the greatest risk you have taken with your art?

ML: The biggest risk I have taken with art, I take everyday—choosing to throw myself out there and be okay with the outcome. I try to continually push myself to try new mediums and not be too harsh on myself if things don't go right the first time around.

PASTEL: What do you want your work to do?

ML: I want my art to be relatable. I want others to be able to see in my art, not something that is separate from themselves, but something that is a part of them. I want my work to bring a sense of calm, of balance, of perfect imperfection, of character, of growth.

                                                                                                                p h o t o s   b y   b e c k e r

As I poured over her work, there seemed to be an interesting tension between images charged with psychologically intense emotion and an unnervingly quiet aesthetic; the repetition of isolated figures work in conjunction with their evasive expressions and contorted bodies to lull the viewer into a dreamy world of melancholic estrangement. 

Looking at each work of art is like walking through a tenuous dream of fine lines that twist and turn into ethereal creatures. You get the sense that drawing is a meditative process for her—a way that she can work through and combine reality, deep-seated emotions, and the beauty of a daydreamer's mind—in order to create a remarkable body of work. 

PASTEL: When and how did you first become interested in art? Was there ever a time when you thought you'd do something different?

ML: As a kid, I was really introverted. Until the age of three, no one but my parents even knew I was capable of speech. I spent my free time devouring books and daydreaming. Painting pictures in the physical world felt just as natural as magicking pictures of heroic characters in my mind's eye. It was a way I could communicate without having to speak—a way I could get people to understand me without having to explain.

PASTEL: Many of your illustrations seem to have strong introspective elements to them. How would you describe your subject matter?

ML: Simple. Often there is only one subject presented, but an intricate array of lines within. My art is meant to be viewed as the retelling of a dream: what appears to be a coherent picture from a distance becomes fragmentary when viewed up close; both conscious and unconscious thought are captured in the intricacy of the design. Usually, I begin drawing when I start identifying strongly with some emotion, be it pain or elation, and try to capture that energy onto paper. The coherent whole of one of my pieces of art shows my solidified intent to portray a picture, but the intricate lines that divide and connect the picture show my unconscious, or rather subconscious, method to reach that whole, complete picture.

PASTEL: What are the greatest challenges you face when creating art and how do you deal with them?

ML: My ego. It's a constant battle. If I let my mind do the talking while I tried to create, I would be plagued with unease and worry. I am my own biggest critic, after every line, every tiny swish-swish- dot, my mind shouts that I've messed up and I might as well start over. Art has helped me to learn to let go of my attachment to my mistakes—to realize they don't define me. It gets easier with every piece—easier to let go and give in to the drawing trance—to let go of anxieties and give in to the current moment.

PASTEL: Do you have a favorite space to work in? What kind of atmosphere promotes the best working environment for you?

ML: I like quiet spaces with lots of sunlight.

PASTEL: As an artist, exposure and vulnerability are somewhat of a necessity to be successful. Do you agree or disagree? Why?

ML: To be successful for yourself, yes, you must be vulnerable and you must expose yourself.

PASTEL: What are you currently reading, listening to, or looking at to fuel your work? Are there any artists that have inspired you?

ML: I find myself very taken with nature. I love the line patterns of bark and the tiny moss cities that grow on a rock. Each of the artists that I'm surrounded with inspire me. I am fortunate to have many creative, caring souls in my life who exemplify the qualities of a true artist both on and off the canvas.

PASTEL: What's the greatest risk you have taken with your art?

ML: The biggest risk I have taken with art, I take everyday—choosing to throw myself out there and be okay with the outcome. I try to continually push myself to try new mediums and not be too harsh on myself if things don't go right the first time around.

PASTEL: What do you want your work to do?

ML: I want my art to be relatable. I want others to be able to see in my art, not something that is separate from themselves, but something that is a part of them. I want my work to bring a sense of calm, of balance, of perfect imperfection, of character, of growth.