Alright – so today we’ve got the honor of introducing you to Marina Nazarova. We think you’ll enjoy our conversation, we’ve shared it below.

Hi Marina, thanks for joining us today. Are you happy as a creative professional? Do you sometimes wonder what it would be like to work for someone else?

Yes, I would say I am a happy artist. I learned to be one. I suppose it’s a choice, and at one point, I decided that I wanted to be someone who enjoys creating and even sees it as a blessing to have this passion and the ability to make something with my own hands. Painting is a truly magical process, and the experience of being in that flow feels entirely beyond this world. So, I focus on celebrating that choice rather than dwelling on the financial frustrations that come with this career path in times. That part can be figured out and resolved. At some point you start making a living with art- you just have to be patient.

For a long time, I wondered what else I could have done to lead a more financially secure and stable life. I was constantly searching, but I always returned to painting. I worked other jobs—retail and administrative roles at various points. Those were temporary jobs, of course but as a vocation, I never wanted to do anything else. I never imagined myself as a doctor or a marine biologist, for example. It’s always been painting. Nothing else seemed to have purpose or meaning for me except creating art.

The last time I searched for a job was when I had my baby, 9 years ago. I was writing resumes and cover letters, and I felt sick to my stomach. I did some graphic design work in the meantime, but I knew it was just to get by – it wasn’t what I really wanted. It had to be painting.

Even though I wanted it so badly, I was still very insecure about this career choice. It wasn’t just financial insecurity, but also mental doubts. Am I allowed to do this? Does it count as a real occupation? Voices like that kept whispering in my mind.

Then I participated in the Artist Project art fair in Toronto ON, and a whole new world opened up for me – opportunities, connections and even sales. I didn’t expect the financial aspect, haha – I considered it a bonus. My main benefit from the show was the sense of belonging and the identity it gave me as a working artist. I began to have confidence. I realized, yes—I do have permission to do this. Yes, it does count, and it does matter. This was priceless.
Once I embraced this new vision, things started improving—creatively and financially.

After that, I participated in more exhibitions, was picked up by two galleries, attended artist residencies, and received commissions and projects, among other opportunities. It does take time, not everything at once but it’s happening. Thankfully, I no longer wonder about needing a regular job, and that makes me a truly happy artist.

Marina, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

I am a full-time, studio-based figurative painter. I was born and raised in Russia, and around the age of 20, I moved to Canada, which became my new home and the place where I pursued my passion for the arts.

I’ve been drawing and painting since I was a child. I was completely obsessed with illustrations in books and paintings in galleries. One memorable encounter with art was when I was about 7 years old. I visited a museum in Dresden, Germany, with my family and saw Raphael’s masterpiece, The Sistine Madonna. I felt shivers throughout my body, and to this day, I still feel that sensation when I think about it. It was a deeply spiritual experience that I can’t quite explain.

Interestingly, I never took a single art class in Russia, even though there are many prestigious art schools there. No one in my family thought to send me to study art. I didn’t even know anyone personally who was a painter or worked in a creative profession. But that single event in the Dresden gallery turned my life upside down, and it has fueled my passion ever since.
In Canada, I fully explored the field of painting. I studied at Emily Carr University of Art and Design in Vancouver, BC, and took many classes with a realist artist who became my dear friend. Later, I attended L’Ecole des Beaux-Arts in Paris and spent a semester there, learning everything I could about figurative painting and drawing. Being in Paris and studying at the same school as Renoir and Degas felt like a dream—it was truly surreal.

This experience reinforced my decision that I couldn’t and wouldn’t do anything else but be a full-time painter. Of course, there were obstacles along the way—financial challenges and self-inflicted doubts—but I always saw that light in the distance and knew I had to follow it. I’m so glad, and even proud, that I stayed on this path and didn’t give up. You have to do what brings meaning to your life and drives you. And of course, it’s important to surround yourself with the right people who support and encourage you.

I primarily work with oils, focusing on anonymous female portraits set in abstract environments. Figurative work allows me to best express myself and learn about both myself and the world. I constantly explore different angles and ways of seeing figures in my paintings. I want to stay curious about my subject matter and how my perception of it shifts. I’m also deeply engaged in the process itself—how an idea, feeling, or mood transforms into a painting, and what that painting can convey to me and the viewer afterward. At a certain point, the piece takes on a life of its own, with the observer giving it new meaning.

After moving to Toronto, things started happening faster for my career. I participated in art fairs, connected with collectors and galleries, set up a studio, and focused on creating a body of work. I began producing more and seeing my work displayed in people’s homes—not just in Canada, but beyond. It’s an unbelievable feeling, and I’m so grateful for it. I was even surprised to see my paintings featured in House and Home Magazine—it was incredible.

Currently, I live and work between Canada and Brazil, but no matter where I am, my art practice continues. I recently returned from an artist residency in Newfoundland, where I was part of a large figurative exhibition. Each event like this enriches my practice and fuels it with even more purpose and meaning.

For you, what’s the most rewarding aspect of being a creative?

I find the most rewarding aspect of being in the creative field is that it allows you to live a more meaningful life. You are fully present for it, connected, and tuned in. I often have this incredible sense of purpose, a mysterious energy that drives me forward. Whether it’s my daily painting practice, research, planning for an exhibition or an artist residency, or even the routine administrative tasks like maintaining a website or answering emails—everything is fueled by this energy.

Of course, there are moments when I question what it’s all for, especially when things slow down, when I’m waiting for a response, or when a painting I’ve worked on for a month doesn’t turn out the way I envisioned. But all it takes is the next day—finding myself back in the creative flow in the studio, shipping a painting, or hearing people talk about my work and that it bring them joy. These moments are priceless and instantly replace any doubt or frustration. I can run on that energy for a long time. This spark, this passion and love for the craft, creates a richer life experience filled with more meaning and purpose.

We often hear about learning lessons – but just as important is unlearning lessons. Have you ever had to unlearn a lesson?

I suppose the lesson I had to unlearn was the financial one. It took me a long time to charge what I truly felt my work was worth. I believed that if I enjoyed doing my work, I shouldn’t charge for it fully—or at all. I thought it was already a blessing just to be able to do what I love.

For the longest time, I would jump in and discount a painting or ask for only the minimum pay, even without anyone requesting it. It was almost as if I believed that work requires struggle and feeling miserable to be worthy of payment, and that painting didn’t involve enough hardship to justify a fair price. Or perhaps I felt I wasn’t serving people enough with my art.

Later, I realized that these beliefs were all in my own head, shaped by my personal paradigms around money and self-worth.
As I understood myself better, painted more, and built connections with people through my work, I was able to overcome these old beliefs and replace them with a healthier mindset. I put my heart and soul into creating original pieces and release them into the world, where they connect with and speak to people who want to take them home. I learned that people do see a lot of value in art, and they’re willing to invest in it.

Contact Info:

• Website: http://www.marinanazarova.com
• Instagram: https://www.instagram.com/marina.nazarova.art

Image Credits

My own images