Painter

Art is the fusion of the conscious and subconscious mind. It has the power to enable us to see the world and our relationship with it in a different way. This fundamental purpose of art is sometimes forgotten in a society obsessed with the temporary satisfaction of style. However, we are moving into a period of enlightenment where the willing acceptance of the self, once deemed distasteful or taboo, is now welcomed as refreshing. Within this context, Marcia Kay Ellis’ work is beyond the vagaries of fashion and inspires the viewer to take a gentle journey into their own reality. 

Through her painting, Marcia expresses a heightened emotional intelligence that has always been with her. She is perhaps at her most certain when driven to convey what she feels through paint. The process of painting itself takes her to another level, where she experiences a spiritual uplifting and reawakening. Her work is expressionistic in tone, featuring spectral figures that haunt the landscape. The provocative images of the human form she creates on large canvases almost dare the viewer to confront their inner feelings. 

Born in London in 1965 and a mother at twenty, Marcia grew up rapidly. She very quickly became profoundly aware of her own existence and why she was here. Defying many stereotypes, she attended St Martins College of Art and Design to study Fine Art. In her second year, her tutor stated that he did not believe in ‘works from the self’. However, risking being ostracised by her contemporaries, Marcia decided it was more important to remain true to herself as an individual than be forced to work to the expectations of others. The feeling of being slotted into a convenient box or becoming stereotyped into a certain type of work ultimately left her feeling devalued. Despite this, she later returned to St Martins to add a Masters in Design to her MA in Fine Art, yet today as then, she still regards the viewers’ interpretation of her work as the most valid way of defining its meaning.

In terms of artistic influences, Marcia strongly identifies with Freda Kahlo’s need to confront, communicate, and exorcise pain. She is also interested in the work of René Magritte, who explored his subconscious mind through his practice, using surrealism as liberation from inherited artistic limitations. She is also drawn to the work of Egon Schiele, whose painting creates a sense of intrigue and provocation, pulling the viewer into an image that at first glance seems disturbing.

The collection that Marcia now presents also expresses her journey as a mother, and the tragic death of her third daughter to meningitis. “This searching feeling I experienced in the first few weeks after my daughter’s passing transcended me into a twilight zone,” says Marcia. “My painting ‘Crossing the Spiritual Boundaries’ portrays me standing weightless in a clearing with my eyes closed. My mind is fixed; I believe if I can concentrate my energies I could somehow connect to my daughter who is floating above me.” Marcia continues, “In terms of the colours used to reflect this, I used cerulean blue extensively as it radiates calm, and deep indigos to evoke contemplation. There was a joyous feeling in me when creating this painting, as I was able to convey my need to be in a tranquil state. On completion of this piece, I felt an overwhelming need to cry for the first time in five months since my daughter’s passing. A peace of mind took over my being, and then numbness set in while I waited for the emergence of a new self.” 

Another of Marcia’s paintings, the ‘Grief Cycle’ was executed with immense vigour in the hope the artist could release herself from the abyss in which she felt trapped. “I manipulated and tortured the paint for this work,” says Marcia, “overworking it and reapplying thickened oil mixed with medium. I was not content until I could feel the texture jump out from the surface as if coming to life. These figures embodied me, a battle between terror and torment ensued.”

Having resisted the gallery route, these paintings have rarely been seen. Remaining in her private collection for a number of years, Marcia is now ready to let them go.