Art Life Is Not For The Timid (Nevertheless Journal)
Maria-Rose Payne is a talented and diverse artist who describes herself as an alchemist, film gypsy and aesthete, and she indeed embodies all these roles whether it be working in film, theatre, ballet, or design. Maria-Rose is a true creative chameleon, weaving her artistic genius through various mediums and styles. Her portfolio is a rich collection of innovation and exploration, reflecting a profound commitment to constantly pushing her artistic boundaries and knowledge.
‘It’s as much about resilience, not just talent’ says Maria-Rose. ‘You’ve got to be 100% passionate about making a difference through your work and learning everything you can – and I don’t stop learning. I’m up at night, researching, painting, practising…always. People often comment about it coming naturally; saying I’m gifted. But it’s about hard work and perseverance…and passion. The art life is not for the faint-hearted or timid.’
Originally training in fine art, Maria-Rose has created an extensive career in design, art finishing, hero props, costume props, paint FX and restorations.
On graduating from high school on the Gold Coast she caught a Greyhound bus straight to Sydney and she did any job she could on the arts path to find herself artistically. ‘I did every job possible from a dodgy magic show to singing, to window displays to murals for criminals - although I didn’t know they were until after the fact! I then returned to the Gold Coast and scored a job at Movie World and worked there for about four years doing stunt shows and playing Cat Woman. It was great because it gave me some confidence I was probably lacking, and the confidence to return to Sydney and started pursuing art more intently. Art was always the thing from when I was child that made everything right. I was drawing from a very young age and I just knew it was something I wanted to do – be an artist.’
Whilst studying at The Academy of Arts in San Francisco in the early 2000s, one of the first lectures Maria-Rose listened to was delivered by a person working in multiple areas including textile art in film, as an interior designer and a stylist. Maria-Rose had been told as a school-leaver that there was no career possibility in this art area but suddenly she had an awareness of the multitude of opportunities she could create for herself.
From San Francisco, she returned to Australia briefly and then headed off to the Big Apple.
Upon arriving in New York City she disembarked from the plane not knowing a soul but within a day she had met a team of artists and they embraced her and invited her into their world. One of their collective projects was to create inside a building near the Brooklyn Bridge. ‘The building had been donated and there were canvases hung on the walls and we could go in anytime and paint. And there was red wine, cigars … all the essentials! It was my dream to live that life and I did! I felt it was like the phoenix in me coming out. I attended every possible art class I could while I was there – exploring my art. The training in New York with these brilliant people, and the small courses, transformed me as an artist. New York City was so good to me and I thought I would be there for the rest of my life - but life happened!’
After two years in New York, Maria-Rose returned to Australia to renew her visa but was told she had overstayed her time in San Fran – by one day! - so was delivered an automatic three-year ban. Devastating to say the least! ‘I was a mess. I felt I was just starting to be recognised there and I was so happy. I had no idea what to do in back in Australia. I was completely unknown. I was miserable. I had known from the beginning, once I had decided to be an artist, that I had to accept my life was not going to be normal. That I had to be comfortable with uncertainty. Life was always going to be everything, and nothing. I had learned a lot already about resilience through rejection.’
Life back on the Gold Coast was dismal to begin but through a random social connection she met with a film worker who asked if she could paint portraits on a set. The show was the television series, H2O:Just Add Water. And so a new chapter began working in films. There were of course many breaks between films where Maria-Rose worked in theatre and ballet; she worked with John Cox’s Creatures. She paints and designs in every medium. Fast forward a number of years and her two main roles are usually in film as head of props painting or head of textile arts. ‘They’re two completely different roles but they always crossover for me as I’m known to be able to do both, so often I end up doing a little bit of props and a little bit of costumes.’
Currently a working week for Maria-Rose starts early, very early. She rises with the sun, or often before, and sits and tries to write what she hopes she can achieve by the end of the week. Then she heads into work, a film studio, or props warehouse, and usually puts in a 10-hour day on average. ‘It’s a pretty hard slog, especially on film,’ she says, ‘particularly if you are a head of department and responsible for the way things look. And there are always last-minute changes and you’re running a team. We are always on the fly, and you don’t want to disappoint.’
Maria-Rose’s list of film credits has grown exponentially over the years. Early in her career she worked on the Narnia film which was a sense of full circle for her as she adores the works of CS Lewis. She dipped her toe into the area of textiles for Unbroken starring Angelina Jolie. Aquaman saw her creating the finishes on the weapons and she found this experience ‘amazingly creative’, and it opened the door to working in textiles in the area of costumes. ‘l really love colour and the dyeing, the ageing. In costumes I also get to create costume props and make things as well which has always been a passion.’ Mortal Kombat encompassed all of Maria-Rose’s skills from special effects painting to textile art including dyeing and ageing.
‘The highlight of my film career has been both the Catherine Martin and Baz Luhrmann films, The Great Gatsby and Elvis. A wonderful thing to be a part of. They really appreciate the artists. There is something special they both bring to a film set. And CM is this creative powerhouse!’
When asked about the future, Maria-Rose, pauses and reflects at length: ‘I think it involves teaching! I’m feeling that’s where I’m heading towards, and also doing my own work again. That’s something that’s been really strong in me these past few years. But there’s also a restlessness in me again. As Anais Nin says, ‘my head’s being pulled by the stars again.’