Carly Allen Martin has been creating for as long as she can remember. Her painting career began, quite literally, on the walls of her childhood bedroom, where her parents gave her the freedom to cover them in murals again and again. That early permission to explore laid the foundation for a practice rooted in curiosity, beauty, and emotional depth.
After graduating high school early, she studied painting in Florence before earning her degree from TCU in Texas. Along the way, she also spent time studying in Japan, Germany, and Washington State. Travel remains a key inspiration in her work, influencing both her aesthetic and her approach to materials.
How do you typically spend a day in the studio?
I keep a studio at home, but I also like having an external space. I have two kids, so my day usually starts with them, and then I make my way to the studio.
I work best in four-hour increments—anything less doesn’t really give me enough time to get into it. I try to come every day, even if I’m not painting. Just being around my materials and the work is important.
My process usually starts by hand-cutting large rolls of paper or linen and priming them. Then I sketch, using charcoal or soft pastel, and layer paint into that. My work is very much about layers, and I try to keep a bit of that original mark-making visible. I usually have about eight pieces going at once, and they move between the floor and the wall as I work.
Q: How do you decide between using paper or canvas?
The materials themselves are a huge source of inspiration. If I’m stuck with one, I’ll switch to another. Paper is probably my favorite, but scale plays a big part—my paper rolls only go up to 52 inches wide, so if I’m working larger, I’ll reach for the linen, canvas, or panel.
I love working on panel. I prime mine with a clear gesso, which really keeps it an active gritty surface. It’s sealed as far as being archival, but it still keeps it porous, which I really like. I try not to come into the studio with a set plan, just a commitment to explore the materials.
Your work feels very alive and rhythmic—do you listen to music while you paint?
Yes, I cannot work without music. It’s a disaster if I forget to turn it on—it just never ends well. I like it loud, and I listen to everything. If I need to get something out of my body, I’ll put on something grounding like Adele. Other times it’s more upbeat—I listen to a lot of hip hop music. I would say it also plays into that lyrical nature of my sketching and drawing.
How have your experiences studying around the world influenced your work?
Italy was my earliest and strongest influence. I studied in Florence, and my roommate there—Nicole Franco—is now an international photographer. We’ve stayed dear friends, and that friendship has been an important part of my journey.
I loved studying in Japan as well. I think the contrast of the minimalism I encountered there, versus what I studied in Italy, plays out in my work. In Germany, I studied sculpture, which was amazing for learning how to apply mixed media.
When I need to recharge, I go to Montecito or the Santa Barbara/Ojai area. It’s where I feel most connected to nature—and that connection always finds its way into the work.
What do you hope viewers experience when they see your work?
I try not to place too many expectations on that. My intention is always for the work to feel energizing and full of life—colorful and beautiful—but once it goes out into the world, I let it go.
If I focus too much on how people will receive it, I lose touch with what I’m making. So I try to begin and end in the studio. That’s where the real work happens.
Explore more of Carly Allen Martin’s work online or visit the gallery to view in person.
