Behind The Brush with Marry Merlot
In this edition of Behind the Brush, we sit down with Seattle-born graffiti artist Merlot who discovered her love for street art in high school, drawn to the bright colors and energy of tags along the freeway. What started as curiosity grew into a creative outlet and a way to connect with others through her work. In a space that’s often male-dominated, she’s earned respect through bold color choices, clean lines, and a strong sense of style that blends classic graffiti with a modern, minimal twist. Her process is thoughtful but relaxed—sketching ideas, experimenting digitally, and then bringing them to life on the wall. For Merlot, graffiti’s temporary nature isn’t a downside—it’s part of what makes it special, a reminder to enjoy each moment and keep creating what feels true.
What first drew you into the graffiti scene and how has it shaped the way you approach art today?
When I was in high school, I’d see graffiti along the freeway and was always drawn to it, even though I didn’t really understand it yet. Then I found out that someone I knew and admired was actually behind one of those pieces. Seeing a friend’s name up there—without them being physically present—hit me in a personal way. It felt like a message from a distance, like sending a letter—but one that everyone could see. That connection really stuck with me. I wanted to create that same feeling for others—the sense of presence and connection through art, even when the artist isn’t physically there.
Being a woman in graffiti — which has historically been male-dominated — likely comes with unique challenges. How have you navigated that space and do you feel it’s shifting for the next generation of women artists?
I think one of the biggest challenges has always been people judging me before they’ve seen what I can actually do. However, instead of letting that discourage me, I really try to use it as fuel to change their perspective through my work—makes it a fun challenge. But I also try to see both sides—while it’s had its tough moments, being a woman in a male-dominated art form has also opened some amazing doors. I’ve had opportunities that I might not have gotten otherwise, and even though I sometimes question whether I fully deserve them, I’m genuinely grateful. It’s been an honor to collaborate and paint alongside artists I’ve looked up to for years.
When you started painting graffiti did you ever think that it would develop into an art career where those skills would be heavily utilized?
I never saw graffiti as a career path—it was just something I loved doing. But early on, I started noticing how graffiti artists were translating their skills into different creative fields, and I realized how connected it all was. I remember asking a friend back in high school if he ever wanted to be an artist for a living, and he said, “that’s not a real thing.” I think about that moment a lot. I wish I could go back and tell him it actually is possible, because I know if he’d believed that back then, he would’ve been one of the greats.
What does your creative process look like from the first spark of an idea to the finished piece? Do you lean more on planning or intuition?
It always starts with a pencil sketch. Most mornings before painting, I’ll sit down with a cup of coffee and rough out an idea, then slowly refine it until it feels right. Once I have something solid on paper, I move to my iPad to experiment and test ideas at a faster pace. It lets me play with new effects or color combinations and see right away if they’re giving the energy I’m going for. I’m definitely more of a planner—I like coming to a wall with a clear direction, even if it’s a simple one. It gives me confidence and helps get all the trial-and-error out of the way early on. At this point in my life, time is valuable, so I try to make the most of every hour I’m painting.
Graffiti is often temporary by nature, How do you feel about impermanence in art, and does it change the way you think about your work?
I think the temporary nature of graffiti actually makes it more valuable. While I love when a piece lasts and I can revisit it years later, I try not to get too bent out of shape when it’s gone. There’s something special about knowing it existed for that moment in time—that it lived, was seen, and now is part of the history of that spot. As long as I’ve got a good memory of it (and usually a solid photo), I’m at peace with it. It’s kind of an “on to the next” mindset.
Do you have any rituals, routines or environments that help you get into the flow of painting?
I used to have a little ritual—these days it’s more of an “if I can, that’d be great” kind of thing. I’m half Vietnamese, and Vietnamese food has always been a comfort for me, so I loved starting my painting days by grabbing a cà phê sữa đá (Vietnamese iced coffee) and a Bánh mì (Vietnamese sandwich) from a local deli. It just set the tone and made me feel grounded before a long day. Plus, having lunch ready meant I could stay in the flow without needing a long break. As for art routines, I definitely have my prep process—making sure I’ve got all my materials, caps, water, and anything else I need. Being prepared at the wall helps me focus fully once I start painting.
How would you describe your artistic style or aesthetic in your own words? Do you have any visual “signatures” you believe are uniquely yours?
This is always a tough question for me, because I’d rather let others describe my style—I’m not even entirely sure how to define it myself. I know I’m drawn to simplicity, boldness, and color, and I try to bring those elements together in a way that feels balanced and fluid. I’m influenced by traditional New York graffiti, but I like to strip it down to the essentials, add a little fun, and make it feel as clean as possible. Back in the early days, I used to think, I wanted my pieces to look as clean as a sticker. I don’t know that I have any true “signatures,” but there are things I keep coming back to—polka dots, tile patterns, super bold linework—things that just make me happy and keep me experimenting.
Who are some of your biggest influences (artists, writers, movements), and how have they shaped your path?
Early on, Rime MSK was definitely my biggest influence. I used to study his work in magazines for hours, it never got old. I was also really inspired by the people I painted with—Begr was a big influence, as well as Wane, and so many others who taught me things along the way, brought good energy, and pushed me to keep growing. These days, my husband Aerub is one of my biggest inspirations. He’s always pushing himself to evolve and progress, and that mindset really motivates me. I think that drive for continuous growth is something every artist should hold onto.
How has your upbringing, personal environment and/or cultural background shaped your visual voice?
I didn’t have the easiest upbringing—before middle school, I was in and out of foster care and different households, separated from my sister, always moving, and never staying in one place long enough to have the same friends for more than a year. It was a tough way to grow up, but I think it gave me this deep need to be seen and heard—to not just fade into the background or be forgotten. Those experiences definitely shaped who I am today, and I really believe they play a big role in why I connected so deeply with graffiti, art, and the culture around it. Through it, I’ve found a sense of family and belonging that I didn’t have before.
Looking ahead, how do you hope your work and career evolve over the next few years?
Looking ahead, I just hope I keep finding things that motivate me and inspire me to keep evolving. I never want to get bored with my work—I always want to be learning and pushing myself. I love opportunities that throw me way outside my comfort zone, the kind that stress me out and make me question if I can even pull it off. But then somehow, I make it happen, and it ends up working out better than I expected. As long as I keep having those moments—where I’m challenged, growing, and surprising myself—I’ll feel like I’m on the right path.
