Based in Los Angeles, Reiss is known for her public art installations and large-scale murals that have graced alleyways, abandoned buildings, forests, bookstores, and galleries around the world.

Growing up artsy in a quiet suburb of Colorado, Reiss never quite fit in. Her gut told her she was destined for something bigger, so she relocated to San Francisco in an era when the city was still a hub for guerilla art. There, she received her MFA from the San Francisco Art Institute and spent almost two decades enjoying what she calls a “creative incubation,” quite literally painting the town with artists drawn to the same medium.

Influenced by her Eastern European heritage, Reiss puts a psychedelic twist on traditional Polish and Russian folk art. While murals make up the bulk of her work, she has also worked with textiles to create her signature installation experiences, while also deepening her practice on a much smaller scale with delicate paintings, sketches, and tattoo designs. There’s a certain adolescent innocence captured by her aesthetic which is juxtaposed by her technical virtuosity, allowing her to depict inviting scenes of flora and fauna in ways that can only be described as magical.  

You can check out their latest projects on Creatively here.

What is the first creative project you remember?

One of my very first public murals was in the amazing Clarion Alley. It was around 1999-2000, and things were fantastic in The Mission. So much creative force coming out of just a few blocks in San Francisco. It was an amazing time and I painted a very small wall that took me so many days. I laugh now when I think about how long it took. I wanted it to be perfect. I painted a huge portrait of a cat toy from the 1950s. It’s still one of my favorite murals. 

Describe your aesthetic in three words.

Folk, psychedelic, cosmic.

What was the most fulfilling collaboration you’ve worked on?

My friends and I worked on a free carnival called Peralta Junction in Oakland, CA. We rented a vacant lot for 3 months and built a series of games, booths, stages, etc. I was in charge of the stage and it was incredible to make something so big and beautiful. It was one of the last projects our loose collective did before we sort of grew up and moved in different directions. It was by far one of the most ambitious, with so many hands and personalities involved. I loved it and still think of it often.  

What’s one creative project that taught you something fundamental about yourself?

Getting my MFA in painting was one of the harder experiences I’ve had. I was very isolated and so busy with both studio and critical reading and writing. It taught me so many lessons, but most importantly how to defend my work and speak effectively in a way where I am actually heard. It was a great lesson in understanding myself, especially as a female in higher education. 

Do you think creativity is something you’re born with, or something you’re taught?

I think it’s a little bit of both. It just comes down to really doing what you want in this world and being honest about that work.

What’s the last dream you had?

I had a daydream about growing an orchard of olive trees on my desert property. I could almost feel the shade from them. I hope it becomes a reality. 

One hundred years from now, what do you hope people write about your work?

I want to be remembered as a kind, honest woman who worked hard and loved the world.

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