"Maron Resur grew up in a haunted hollow of a forest down the road from a psychotic park ranger under an abandoned train trestle. Classically trained as a printmaker, Maron has honed her drawing skills and developed a Rembrandt-esque painting style. She has a proclivity for portraiture, often times of herself, friends, and family. Her work is best when her academic training melds with her intuition."
---Research & Development

"Born in 1979 in Bloomington, Indiana to two artist parents, Maron Resur has spent her whole life closely linked to the art world. During Maron’s childhood, her family home was in the “Kentucky Bottoms” of rural, southern Indiana where she grew up playing with her parents’ old paints and frequently accompanying her father as he traveled for exhibitions and shows throughout the eastern United States. Having done well academically through high school, Maron received full scholarships to several universities. She chose Ball State for the hands-on quality of their Arts program. There, she completed her degree with a major in both Drawing and Printmaking and also completed a minor in Art History, graduating Magna Cum Laude. Since college, Maron has moved away from printmaking and has experimented with bookmaking, woodcuts, and painting. In 2005, she moved to Chicago where she met with a number of successes in her artistic career. In 2006, she was accepted into 15 juried exhibitions, took part in a number of group shows both in Chicago and Washington, DC, and won seven different awards for her work."

After finishing my BFA in Drawing and Printmaking, I found myself without a press and so began teaching myself to paint. The first paintings I did were very large-scale faces, conceived as a group with the intent to show them together. I had a lot of success with that series. It led to some portrait commissions, which I enjoy, but I felt like I always relied too much on “luck” or “talent.” I realized later that this was intuition.
While academic technique and training is indispensable to the illusionary aspects of my work, I don’t feel that a painting is truly complete until I’ve reached the point where academic training leaves off and instinct takes over. My best work is characterized by a harmony between my academic training and intuition; these paintings paint themselves.
My goal is to tell my own story using the most classic and understandable of techniques. I paint with my fingers, feeling out the fleshy contours of familiar faces. My portraits are often dark and moody, rarely facing the viewer eye-to-eye. My self-portraits, however, confront the viewer as the “iconic heroine” of the body of work. While each painting is essentially a reflection of myself, I hope to connect the studio and the soul in a way that speaks honestly of what it is to be human.