BY SHALEEN DESTEFANO
Denver-based artist Marissa Napoletano creates evocative works that blend earthy tones with shimmering gold accents, often weaving in imagery of clouds and the female form. In a world where AI and digital noise can crowd the narrative, her art remains soulful and real, grounded in the emotions and lived experiences she brings to each piece. Her paintings invite viewers into a dreamlike space where grounded elements meet the ethereal, and in this issue, we explore the inspiration and intention behind her work.
Your artist name, ‘Revery,’ evokes the idea of dreams and imagination. How does that theme of dreaming show up in your creative process or in the way you approach your large-scale works?
The dream-like quality in my work is a combination of a natural style that I gravitate towards and the lasting impact that insomnia has had on my life. I have always had vivid dreams and sometimes find it hard to distinguish between them and reality which has informed the way I paint. I really value the space in which imagination can briefly take over, even if it’s still grounded with real subjects like nature and humans. No matter the themes I want to explore in my works the ethereal style will always be my vehicle.
As your body of work expands, have you noticed recurring motifs or symbols that now carry deeper or different meanings than they once did? Can you point to a piece or series where this shift is especially evident?
My earlier work often dealt with struggle and the pain points that happen with growth such as women depicted without certain senses, or a lot of subjects under water. These were born from a time of health issues and uncertainty. In recent years there has definitely been a shift to more images depicting strength. I think this is most evident in paintings like “Salita” or “Swarm” where the forms are wearing elements almost like armor. I’ve expanded on this idea with gold leaf shrouds to evoke royalty or figures wearing natural elements as opposed to the elements wearing them.
You’ve had the opportunity to work with the Denver Dream Center. How does this type of community engagement and stories of local participants inform your creative decisions? Can you share a moment where someone else’s personal narrative directly altered your artistic direction?
Community involvement is one of the most influential and fulfilling parts of my practice in that connection is such a big part of my imagery. Working with at-risk youth at the Denver Dream Center or projects like “Biome” that both directly include stories from people in the city into the painting, is a privilege. Art can sometimes be a solitary endeavor and one that is hard to see if you are making any positive impact; so these projects are a way to share ideas and better each other’s lives in a concrete way. When working on “Biome” I was lucky enough to receive a wealth of stories from people – everything from life changing moments, to poems they enjoyed to small instances of kindness from strangers. It encouraged me to create in ways I hadn’t thought I could before like painting vintage clocks or using antique frames, incorporating objects’ stories into my work.
With this project you were able to blend art with social mission. What is your guiding philosophy when entering these community-centered projects, and how do you balance aesthetic vision with real community impact?
Whether it’s working with at-risk youth, people in correctional facilities, or frontline workers during Covid I think the most important thing is that connection and enjoyment of creating is universal. The artwork becomes secondary to the experience of making it and working with people to produce something positive. I take the balance of aesthetics and impact on a case by case basis. There is always a beauty in mark making even if it is not by professional hands, and if I’m able to add some finesse on the end to drive the imagery home I’m happy to weave my painting around that.
If a mural (or other public work) is a conversation, what do you hope people walking by each day will hear, or feel? Is there a particular message you hope lingers?
One of the things I try to accomplish with my work is set the stage for reflection and emotion but not dictate exactly what people should feel. Artwork can be a mirror and that is often why I hide parts of the portraits or use people that don’t exist in my work so they can serve more as a placeholder or metaphor for something larger. What I hope people walk away with is the dichotomy of what I was feeling when I made it – both the gravity of the theme and also just… “that idea seemed cool.”
When your murals age over time, how do you, or the organizations you work with, think about preservation, renewal, or letting go? Is there ever an intentional ‘expiration’ built into the work?
The only projects I have worked with that include an intentional expiration are murals for festivals. Often the idea of impermanence is built into the idea of a festival to make room for new art and have that neighborhood be a forever changing thing. I got started painting murals in festivals and had to let go of my attachment to work pretty quickly. As far as preservation you can take measures like using high quality materials and primers along with graffiti coats or varnish. No work will ever last forever, especially in Denver’s harsh sun and weather but I actually love the idea of artwork being a living organic thing that should be enjoyed while it’s there. Small scale works are a bit of a different story and hopefully last as long as some of the greats!
How has your own worldview, values, or sense of purpose shifted in your artistic practice?
As I’ve gotten more immersed in the professional art world I notice more and more how trends and money have changed the scene. Between AI and NFTs and marketability I think the space quickly can be dominated by art that comes less from the soul. My favorite art is always that that comes from something important being said or felt by the artist and it has instilled in me a drive to never lose the love and integrity I come to painting with.
You work in murals, illustration, and more. Are there new mediums, technologies, or platforms you’re eager to explore—augmented reality, participatory installation, digital storytelling? How might those intersect with your existing themes?
I tend to be pretty old school actually, my favorite technique to this day is egg tempera painting which hasn’t changed much in thousands of years. To that end, the evolution of my work recently has incorporated more objects, mixed media and vintage elements, for example painting antique bell clocks and ceramic plates I’ve found. It’s a fun way to incorporate some of the same themes just in a different scale and composition.
If you had complete freedom with another nonprofit organization like the Denver Dream Center or a similar organization, no budget limits, no permitting barriers, what is your dream project or intervention (mural, interactive piece, event) you’d love to realize, and why?
I have had an idea for a while that uses the ideas of murals as portals in a way. “Biome” was the first iteration of that, creating a mural where the background has the first sentence of stories from the community and a link to an online journal where you can find the rest. I’d love to expand this idea around the world and create murals that include local flora, fauna, and stories from the community. I think it would foster a healthy network and learning from each other across cultures and distance. These days social media is almost the opposite of connection but when there is a place specifically for art and genuine storytelling I think it’s a positive way to use technology.
Do you have any upcoming projects or collaborations you’re excited to begin?
I am currently expanding my “Porcelain” series which I am excited about and finishing murals for a new venue on 11th and Acoma in Denver. I have also been more and more interested in collaborating with artists that I admire and hope to create some pieces that join our work.
We can’t wait to see how both you and your work evolve in the coming months. We feel lucky to live in a world with your art in it, Marissa. To see more of her work visit reveryart.com.