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PRESS HIGHLIGHTS  (click on links to see full text)



"Moevs' art...reflects upon individual dissolution, dematerialization of matter, and the quality of sight that instead of defining boundaries causes them to diffuse.  Thus, the peacefulness and calm delivered by her paintings express a philosophy seeking unity and connection, thriving for harmonious coexistence."


Toti O'Brien, Open: Journal of Arts & letters, 18 April 2018

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“Moevs’ mastery of reflected light and her fluid handling of surfaces make her art both a revelation and a warning.”


Ruth Weisberg, catalog introduction, 2011

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 “Marina Moevs’ breathtaking oil paintings present the often awe inspiring beauty of powerful natural events, such as floods, fires and storms.  Seductively serene, they resonate with psychologically volatile meanings and metaphors, not only personally for the artist, but as collective arche-types that speak for humanity as a whole.”


Andy Brumer, ArtScene, Nov. 2001

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“Marina Moevs’ paintings remind us of what we already know but prefer not to dwell on: that our safety on this Earth is precarious, that nature’s force can mean everything to us but that we register as nothing to it. The paintings at Koplin Del Rio Gallery are undeniably beautiful, but it’s a complex beauty; threaded through with violence and destruction.”


Leah Ollman, Los Angeles Times, Dec. 12, 2003

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“…Moevs’ pictures convey more that just global-warming….  They impart an eerie serenity, a visual grace (her technique is smooth and silky), an atmospheric harmony that seems to argue, convincingly, that nature is seeking its own level, and our needs and artifacts happen to be in the way, so get used to it.”


Peter Frank, LAWeekly, Pick of the Week, Nov. 23-29, 2001

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“Marina Moevs’ paintings are chilling and beautiful, yet tinged with dread.  Her subjects are usually structures in peril, homes threatened, metapho-rically and in fact, by destructive forces.”


Josef Woodard, Los Angeles Times, June 13, 1996

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“Moevs’s paintings disturb at first glance.  Nominally landscapes, they might be better defined as landscapes of the psyche….”


George Tapley, Artweek, June 1997

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