Contemporary Mixed Media Art by Magdalena Morey

Whether I am creating figurative paintings or mixed media abstracts, my process always begins from a single point: a direct response to a lived experience. I translate things I have felt and remembered into a visual language of energy and colour.

My work focuses on the intersection of memory and physical presence. I find biological and environmental structures endlessly fascinating and I explore how energy flows through different forms, regardless of whether the subject is a person or a place.

My work is a response to the living presence of the environment. My early memories are dominated by summers spent in the Polish countryside and I now live surrounded by nature in Asturias, the "paraíso natural" of Spain. My art reflects the energy, movement and rhythms that I see around me. I do not paint static landscapes. I explore the threads and fibres of nature like veins, roots and shifting light. I think of it as a conversation between my inner emotional world and the physical earth.

Art is a form of self therapy for me. My figurative work reflects the continual process of rebuilding myself from fragments. These paintings are personal and intimate records of my inner life, representing emotional change and growth, imperfection and vulnerability.

I hold a Diploma in Artistic Textiles and a Master’s in Painting. I aim to bring these two worlds together in everything I do. I adore texture and often try to recreate either visually or physically, the texture of the fabric-like threads. I work with mixed media, particularly acrylics, pastels and gold leaf and sometimes also include fibre beads beads. I try to create a sense of movement and depth that gives the surface a three dimensional feeling.

The lines threading through my mixed media pieces represent the invisible bonds and connections that surround us. I view them as the veins, roots, and fibres that weave through both the natural landscape and the human figure, mirroring our shared connections to the world.

This shift came from returning to myself and my artistic roots. For years I painted landscapes while searching for a place to belong. When we settled in Asturias, I felt safe enough to look inwards again. My figurative work is not about the human body. It is about emotion, movement, vulnerability and healing.

Yes. I work with international galleries in Europe and North America but I also sell work straight from my studio to collectors worldwide. Many people prefer to buy directly to support my attempts at a sustainable lifestyle and studio practice here in rural Spain. Work available from the studio is listed in the Figurative, Abstract and Sketch galleries on this website.

Yes. My work lives in private collections around the world. My husband Tom manages all shipping and logistics. Every piece is packed with great care and shipped safely from my studio in Asturias.

As I ship from Spain, all EU orders include VAT and no additional customs duties apply.

For UK, US and other international orders, we handle all commercial invoicing and commodity codes, usually 9701 for original paintings. Local import taxes or customs duty are the responsibility of the buyer. 

My husband Tom manages the business and technical side so I can stay focused on painting. He has over ten years of experience packing art, international logistics, documentation and export requirements in Spain. This means your experience as a collector is clear, safe and professional.

I made a clear decision to stop painting with expectation. After burnout from trying to please others, I returned to painting only what feels true. I do not follow social media trends or paint for algorithms. When you buy my work, you are buying discipline, consistency and honesty. The work exists because it needed to be made, not because it was popular.

Yes, of course! I am always open to discussing genuine offers, all the more so if you would like to purchase two or more pieces at the same time. 

No. I participated in one NFT Skateboard Design project many years ago, but that is it. If you ever encounter any other NFTs with my name associated, they are fake and unsanctioned. 

Yes. My work is represented by international galleries across Europe, Central America and North America. Please visit my About page for a full list of the galleries that I currently work with.

Mixed media means I use more than one material in a single piece. I build depth and texture through layered surfaces and contrast.

I use acrylics for strong colour and layered structure. I work with both soft and oil pastels, and graphite to create fine energetic lines that feel like fibres moving through the surface. I also sometimes use gold leaf to give an extra dimension to the light and to add warmth.

Using a very soft brush such as an artist’s brush or a clean dry kabuki makeup brush, gently sweep the dust away with light movements. Never use a feather duster or a damp cloth. 

No. I never recommend using chemicals, glass cleaner, alcohol or household sprays. These are likely to damage the varnish and can expose the gold leaf which causes permanent oxidisation damage.

Always handle the painting by the edges of the stretcher bars. Avoid touching the surface. Natural skin oils affect the finish over time. For best care I recommend using clean cotton gloves.

I advise keeping the work in a stable indoor environment. Avoid hanging it above heat sources like fireplaces or in humid rooms like bathrooms. Even though it's varnished, gold leaf may still react to strong temperature changes and humidity.A balanced indoor climate protects the surface long term.

To maximise the reflective nature of the gold leaf, hang it in a postition that will receive natural light but not in direct sunlight.

My studio is my small private sanctuary in rural Asturias, where I work alone. I try to share my progress through my Instagram and Facebook pages. I don't teach art, so you won't see me explaining how I paint what I paint, but I do try to share real studio life; you see the changing colours, the layers and the emotional growth of each piece before it reaches a gallery.

This comes from my textile background. I paint and repaint. I let the figures shift and change. The surface contains the full history of the work. You see the layers, the changes in mood and the mistakes. It reflects real life. Nothing is fixed. Everything is always moving.