Marisha’s still life as an attempt at documenting and exploring scenes from her experience and imagination exposing personal narratives, and biographical details, travel and nature. Literal reflections include a series of self portraits reflected in the side of a stainless steel teapot, some naked wearing red boots, or holding fruit. She paints her own children dressed up in national costume of Iran, members of her family, a day spent looking closely at grass, birds, foliage. A recurring topic is succulents and the distorted images and colours of the stems reflected through glass and water.
“all my images of glass are an attempt to discipline myself, the process is a such a torturous one, the painting equivalent of cleaning your bathroom with a toothpick”
Recent works include portraits of refugees recently arrived in Australia. Images document
experience trying to make sense of her domestic chaos, cultural kleptomania, and love for building fantasy interiors, and communal living.
“to me its all the same thing, cook a meal, sew together a tent, tile a bathroom, paint myself naked, I'm messy and I make things, lots of them. As a child I would plait grass into a doll when I was supposed to be weeding, or build a house from rocks”
Marisha’s paintings reference Victorian postcards- a childhood spent exploring country town
church op-shops, working on the family almond farm “Jaipur” surrounded by peacocks, and her Anglo-Indian heritage. Portraits have the stiff formality of sepia photographs, in hand painted sentimentality, coy sexuality, and childhood. a fascination with Indian and Middle Eastern advertising images. flowers, butterflies and the dismembered hands passing notes or nosegays.
Marisha’s layering and merging of images in multiple styles of brush work, colour palates
and mixed media, reflect an attempt to capture the complex nature of life. Works are generally in oils with under painting of deep coloured textured acrylics. Elements are collaged on paper first in an attempt at planning before being transferred to paint, when they are rearranged, enlarged or reduced in scale.
Marishas work reveals dark humour at the objects and images that press an increasingly bizarre reality backwards into an art form that it has out grown.