Maria Natalie Schmidt approaches art as both conviction and endurance — a practice that bridges introspection, realism, and defiance. Each work carries the quiet persistence of discipline balanced with the urgency of imagination. Rooted in a belief that creation is both passion and conscious choice, the practice reflects on identity, freedom, and the human impulse to create despite uncertainty. Through portraits and still lifes that reveal both technical precision and emotional resonance, the work stands as a declaration of dedication — a testament to what it means to keep creating in a world that often forgets the value of art itself.

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Do you believe an artist's passion is something destined or a conscious choice?

In my opinion, it is a bit of both. Anyone can be passionate about anything, and they can be passionate about it as a dreamer, a bystander, or even as a critic. However, to be a practicing artist, especially in this day and age, it has to be a conscious choice. 

We are taught to work hard, hustle, but somehow make time to relax and spend time with others. There are so many ways to interpret this. For some, relaxing might mean to create, but for many it can translate to just giving yourself the space to do nothing. Our time is precious, so to find the time to create art, whether as a pastime or as a career, takes dedication. If it is your main source of income, you have to consciously keep at it, even when you are tired, unmotivated, have doubts, or simply don’t like the art you’re currently working on. If it is a pastime, you have to wedge it into your limited free time. 

Of course, this can also vary depending on your lifestyle and the kind of art you make. As an oil painter working a full-time job separate to my art, I believe alongside being passionate it absolutely is a conscious choice for me to keep creating. It can be very tempting to let my paint brushes stay dry when coming home after a long day. Especially when your job keeps you comfortable as your art isn’t really making much income. I have two exhibitions coming up this year, which is definitely ensuring I keep up the habit of showing up in front of my easel most days. 

I am aware that this is not how everyone practices art. Many don’t do it to get recognised or make money, but they rather see creating art as an escape from reality, a therapeutic outlet for themselves. I imagine some use art to connect with their kids, or to make their home and world a little more colourful, so there is no rush and their urge to create can arise whenever they feel passionate. And for them, that is enough. However, in my case, with expectations and deadlines, it very much has to be a thought-out process and a consistent habit.

I love creating art and I am very much passionate about all of my projects, but to keep at it consistently it can be a challenge, and I cannot rely on passion and motivation alone. Especially when we are living in a time where art isn’t always respected as a job and we’re faced with the threat of AI art, you have to consciously decide to keep at it, to not give up and to trust in yourself and your abilities. I believe this is the case for any goal, whether working out, creating a product, writing a book, or hitting a personal target or milestone. Naturally you are passionate about achieving what you intend to do, but to keep at it, doing both the highs and lows, that is a conscious choice.

Do you think art should have a political or ideological agenda?

I understand people’s want for art to just be art and to have zero political or ideological agenda. However, if you are able to access any art at all, as a viewer or a creator, that in itself, is political. 

Throughout history, art, or at least art that was recognised and respected as art, was reserved for a very small, privileged minority of people. And there were periods were they were only permitted to paint historic or religious art. Even within this very small minority of people, only a few were able to carry on having respectable careers or allow their art to be seen and acknowledged. Women, for example, were allowed to practice art for centuries, it was seen as one of the few respectable pastimes they were allowed to pursue, but hardly any were allowed to become masters or continue their practice after marriage. Even now, in the most prestigious and famous galleries, almost ninety percent of the art contains women, but only a very low percent of the art was actually created by women. 

Speaking of the majority of art featuring women, often times women weren’t allowed to see certain art as it was deemed inappropriate for a respectable lady to look at. This could vary for unusual collections of art from other cultures to portraits of women dressed revealingly or nude. Such art was kept away in clubs or men’s drawing rooms. Queen Isabella of Spain, famously broke protocol by entering a foyer in Paris Opera house with her ladies in waiting as she wanted to see the art and décor, even though women were prohibited. Since then, women were permitted to enter the Opera house foyers. 

Even in recent history, art is political. Whilst we may now have the freedom to create art beside historic or religious depictions, art can still be censored or have artists met with repercussions. Depending on your geographical location and your political leaders, certain art is prohibited and could cost you your life. So, to be able to create art at all, no matter who you are and no matter what your art is, is in itself political and a privilege. 

One of my upcoming exhibitions is in a very prestigious building, and I myself was given strict instructions on what I can or can’t display. I had to hand in a catalogue of my art for their approval and even then, they gave me a list of people that can’t be invited to the private viewing and expressed there can be no room for potential controversial interpretations of my work. 

With all that aside, art is our go-to when reflecting and researching history and it displays both their times and political climate. Even if we enter an age where art is available to everyone, where everything is accepted as art, and there is no limit or line crossed of what can be created, that in itself will be demonstrate how far we have come and will forever be compared to how restricted art used to be.

Artificial Intelligence is increasingly infiltrating creative fields. Do you see artificial intelligence as a threat, a tool, or a collaborator in the art world?

I love discussing artificial intelligence with other individuals lately, especially since there is a clear divide between hating and supporting it while I find myself defending my future livelihood as both an artist and writer. 

With how artificial intelligence is currently being used, we have to treat it as a threat. I can appreciate it as a great invention that could be extremely useful to us in the future, however at the moment, it is being used recklessly by its creators and the public. 

It is still new. We do not know its full potential and its limitations. It has spilled throughout the public’s everyday life without our consent and there seems to be no monitoring of how people are using it and what it’s being taught in the process. Students are using it to cheat their courses, which naturally affects how to accurately measure academic performance and future career success. Individuals are using it for basic thoughts processes such as emails, grocery lists, and travel plans. Studies have already shown how this usage affects our mental capacity which could be disastrous for us and our ability to think. Some even depend on artificial intelligence as a close companion and therapist which sounds dangerous, as it can only mimic our personal speech patterns and parrots back our biases without necessarily giving critical or differential perspectives. There is no telling how this will impact interactions with each other and people’s mental health.

All of the above stated can sway our society in a direction that is very dystopian, not to mention that the use of artificial intelligence is impacting the environment as well. And on top of all of that, it intends to take over the jobs of creatives, especially artists and writers.

Going back to my previous point of art being political, the fact that artificial intelligence was trained through art and writing says a lot. These fields are clearly recognised as being important enough to introduce and teach a new invention but not respected enough to ask for permission of us creatives or to hire us to help train it. Rather than selecting a few artists or writers to sit with AI and teach it what they know, creatives are having to manually op out of letting artificial intelligence learn from their work. I find it ridiculous that artists and writers who use digital tools or social media platforms have to withdraw consent they never agreed to in the first place, so that a technology that is threat to their jobs doesn’t loom over their shoulder as they create the thing it is trying to learn and steal from. 

Fortunately, it seems artificial intelligence is a long way from actually overtaking artist. The majority of the public is of the opinion that it has no place in the creative fields and openly denounce and shame any company that uses it. If anything, I would argue that artificial intelligence has actually helped artists get the recognition, respect and support they have historically been ridiculed for wanting for decades. 

Having said that, I have read other artists’ opinion on how artificial intelligence can actually be a helpful tool for artist. For example, digital artists can have it create the repetitive and boring parts of art such as generate an audience in a crowd scene. Instead of an artist tediously drawing heads over and over again, artificial intelligence can cover that part of the art in seconds. Whilst I personally think it takes away from the practice that every artist ought to go through when creating art, I can see from the perspective of an artist that has deadline in this fast-paced world of demands. 

I would love to imagine a world where artists, writers and other creatives can work side by side with artificial intelligence. Perhaps even collaborate and revolutionize the world of art. However, currently corporations and the public are jumping on art without care of how its effecting humans. 

The perfect quote by Joanna Maciejewska: ‘I want AI to do my laundry and dishes so I can do art and writing, not for AI to do my art and writing so that I can do my laundry and dishes’. I find this quote perfectly summarises the issue. Artificial intelligence is hijacking the very thing we are working towards having the freedom to do. Where do we stand as a society when any pleasing and rewarding job is replaced by AI? Art and creativity are fuelled by humanity, how is AI supposed to understand that other than by parroting experiences off of humans?

What artistic “superpower” would you choose to have, and how would it shape your work?

The ability to keep creating without needing to take breaks. Sometimes I am frustrated that I have to eat and sleep, when that is time that could be spent creating. It’s a fine line between being immersed and dedicated to your art and pushing yourself to burnout. To be fair, taking a step back from your art is a very crucial part to the creative progress. Not only so that the paint can dry, but also so that your creative spirit can refuel. I am at my most confident and enthusiastic after a few hours of daydreaming and dancing with my headphones on. Afterwards, upon returning to my easel, my head is clear, and I can spot mistakes or see the direction of where the art needs to go. Perhaps there just isn’t enough time in the week for me. Perhaps that’s the superpower I actually want, the ability to freeze time.

Another superpower I would love the have as an artist is colour mixing skills. Such as being able to point at a colour on a surface or reference picture that I want to recreate and then having it magically appear on my palette. You would think that as a painter that I would be good at colour mixing. Unfortunately, I find myself wasting so much paint trying to get the colour and shade right. Even then, it often ends up looking a little flat compared to what I was going for. I understand that is part of the experience and practice of being an artist, yet it would save me a lot of time and money if I could magically turn paint into whatever colour I need it to be in that moment. 

What I also think would be a cool superpower to have is the ability to make materials appear than disappear without spending nor wasting things. I think a lot of artists have to be fugal and very cautious of what they use and how much they use. Not just for the sake of their wallets, but for the environment as well. Art is often criticized for its environmental impact, even though they are plenty of ways artist create whilst also being sustainable, such as using trash as their art materials. I use water-mixable oil paint in an attempt to be more environmentally friendly and try to build my own canvases out of wood. However, paint is expensive, and I find it does restrict how much I can experiment or waste while practising. If I could make paint go back in the tube, disappear and reappear when I need it undried and limitless while also removing paint without actually throwing it away, I think that would give me the ability to paint whenever and whatever I want without the worry of waste. 

Lastly, I would love the ability to automatically be a master of anatomy. I do enjoy the practise through references online and in person, but I would love to nail each study the first-time round. I think that would definitely boost my confidence as an artist.

What unusual or unexpected sources of inspiration have deeply influenced your work?

My art journey took off after the unexpected success of The Unfinished Finished series. A collection of portraits deliberately left unfinished to show the process and work behind each painting that technology can’t replicate. The inspiration came from my art lecturer telling me to stop painting what I was currently working on. He was blown away by the colours and stated that the painting looks more interesting left unfinished. It leaves you wondering. Especially when we debate what makes a work of art complete. To quote @@@@@ ‘When an artwork is finished it is dead.’ 

I have since dabbled in another collections. The source of inspiration depended on the series. Initially, to summarise all my artwork combined, I wanted to be able to say that I can do it. That I am able to paint it all. 

The Berries and Biscuits collection was inspired by boredom. I had strawberries and a jar of Oreos and messed about until I created a reference, I could paint a still life with. And since I like painting in sets, I recreated similar concepts to create the collection I have now. 

My latest series, Fatal Frogs, was inspired by my partner, who found an old sketch of a blue dart frog I did a few years ago and insisted that a series of unique frogs would be very successful. We shortly made a trip to the zoo, and I captured several very pretty but very poisonous frogs. 

And my portrait for my current project, Rich Readers, was because I wanted to challenge myself to paint complex background, something I notably lack in all my previous works. I wanted to create a series for that challenge of something I love, which is books and reading. The aim is to have a series of people reading in a variety of different scenes. 

I suppose I am inspired by what I am looking for as my next challenge that can advance my skills or my career as a painter. Having a strong portfolio demonstrating my ability to paint anything to my heart’s desire is what matters for me. 

I am aware that we are encouraged and advised to stick to one art style that is unique and recognisable to us in order to be successful. I do believe I have already found my art style through my first series but wish to have proof that I can also paint in other styles. Particularly more natural, complete, and realistic-looking art for potential clients and commissions. 

Inspiration for ideas of what I would like to paint comes to me every waking second. Everything I see I think about how to paint, it never switches off. What finalises my decision to actually follow through to paint it hangs on whether I can make multiple with a similar subject or theme and whether it is unique in its purpose to me or anyone who come across it. I hope to try and paint beyond what we traditionally see in realism art such as streets or flowers.

How do you envision the evolution of your work in the coming years? What kind of legacy do you hope to leave in the art world?

I want my practice and skills to evolve into mastery. I want to able to paint like the Old Masters and have my work still around for centuries to come. I envision making art that evolves and disperses into a variety of different things. I want to have many different styles of portraits, still life, landscapes and other concepts. 

One thing I would love to achieve is creating art that is memorable and impactful. A lot of the art we remember that has survived for centuries are usually historic, religious, or mythical depictions. I dream of somehow coordinating a similar depiction of current events mimicking master artworks. I would love for my work to be more political, of the highest quality that can associated when talking about our living times later in the future. Similar to how we think of famous paintings when we think of historical figures. How our minds think to certain writers or artists when we think of certain movements or periods.

This may come off as very egotistical and narcissistic of me. It is not my intention. It is merely the grandest vision or dream I have for myself as I painter. At the very least, I hope to have my walls engulfed by artworks I have created over the course of my life. Each painting with its own memories and significance. I aim high as an individual with almost everything I do, but when it comes to art, I know at the very least I will always be practicing it. I believe that everyone has a duty to themselves and their life to at least try and achieve their dreams, whilst also preparing for the possibility of a likelier outcome. I continue to be ambitious for myself and my work, whilst also aware and content with the possibility of it being a pleasant pastime. I do not know what my art could become either way, I am open to anything that forwards my practice for the better. 

However, at the moment, I can’t see myself diverting from realism. I have nothing against abstract or impressionist art, but realism has always been the art that I have been most drawn to. I see it as my life mission to continue improving and evolving my skills till my paintings are almost hyper realistic whilst still demonstrating an artistic approach to reality.

Overall, what is most important to me is to have shown a resistance to a world and a time where creativity is stifled and discouraged as a pursuit. I believe at the very least continue my practice until I am of an old age. I recently ran into an artist in her nineties who is still painting and sculpting. I hope to be like her if I am blessed to hit such an age and still able both in body and mind to create. I think creativity is a human instinct. The very thing that has evolved us to being who are now. What are we as a species without it?

Name five pivotal lessons you’ve learned that shaped your artistic journey

I think the first pivotal lesson, that I am sure has been said many times before already, is to take initiative. I think the most significant moments in my art career came from me taking action in spite of any doubt or fear. It is easy to let the opinions of others, your own hesitation, or the fear of failure get in the way of taking the very leap that will transform your life. My advice is to live life saying, ‘at least I tried’ instead of ‘I wish I had tried’. Yes, there will be many failing and let downs, but it only takes one win to make a real change. 

The second pivotal lesson is the importance of how you take inspiration. There is no such thing as an original idea, so you must be aware of your creativity and what is inspiring it. I don’t recommend trying to sell or feature any of your art that is based of another’s work, such as using another photo or art piece as your reference, but it is good to use them for practice.  However, should you talk about your art and your practice, you have to be honest and credit the inspiration that birthed your own. Not only as it is the moral thing to do, but it helps build your credibility as a creative and your community among other artists. Artists have to defend themselves tooth and nail from enough saga, do not be the reason they need to protect themselves from other artists. We should be lifting each other up and supporting one another.

The third pivotal lesson is the importance of building a consistency with your practice. As mentioned in the very first answer, I believe that it is a choice to create. And you have to choose to create, especially if you’re hoping to pursue it professionally. Developing habits that work for your current lifestyle and cut out time dedicated to your practice.

My fourth pivotal lesson is allowing myself to make mistakes. Both in the creative practice side and the entrepreneurial side of being an artist. Having next to no experience in business and sales when thrown into the art world after being discovered straight out of university, to carrying on by myself, there is a lot of resistance to making a mistake. If I felt I would mess up a painting, I would hesitate to paint. If I worried that my next business move would be a waste of money, I would procrastinate till I missed the opportunity. Similar to my first pivotal lesson, yes some of it will be bad art or a waste of money, and that can be nerve-wrecking. However, in order to grow and built up a business or practice, you have to allow yourself to take risks and make mistakes in order to learn and grow. 

Lastly, a pivotal lesson that I am still learning is to be selective of who you listen to. I have learnt the hard way that everyone wants to get involved in other people’s business to give their wisdom or advice. Yet, oftentimes, they are not qualified to give it. Especially as an artist, many want to either give you conforming tips to ‘make it’ as an artist, whilst other think they are helping you by telling you to be realistic. Whilst I’d recommend hearing everyone out, because I believe they do want someone to talk to and may even have a gem or two worth remembering, but not everything they say applies to you or needs to be taken to heart. It can be very soul-crushing hearing the amount of people hinting to give up or settle for far less just because they are projecting their own insecurities and fears. They usually mean well. But you don’t have to take their word as gospel. Remember that this is your life, your art, and you are allowed to live and practice your art the way that makes you happy.

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Maria Natalie Schmidt continues to shape a vision grounded in honesty, mastery, and resilience. The art evolves as a lifelong pursuit — a dialogue between skill and spirit, conviction and vulnerability. Every brushstroke becomes an act of persistence, every finished piece a quiet resistance to apathy and automation. Beyond ambition or recognition, the practice seeks endurance — to leave behind not only paintings, but proof of a life lived in constant creation.