Folks familiar with the El Paso Museum of Art (EPMA) are used to being greeted by Gaspar Enriquez’s monumental portraits in the massive foyer. Now, upon entry, a bold and intriguing scene of the Reuben Salazar Apartments by El Paso artist Marianna Olague enlivens the space.
Olague’s mural sits across from Enriquez’s work — he is a friend of her father’s, a mentor figure, and the man who once painted her into one of his own paintings. “Even though we’re not related,” Olague says, “I feel part of the artistic legacy he helped build.”
For Olague, seeing her work on the walls of EPMA has been nothing short of “a dream come true.”
Olague has a stacked CV: an MFA from the Cranbrook Academy of Art, a recent residency at the Chinati Foundation in Marfa, work in the Smithsonian Museum’s National Portrait Gallery, and she was a finalist of the 2022 Outwin Boochever Portrait Competition.
She’s also got the chops: her larger-than-life, luscious oil paintings are some of the most masterful, intriguing portraits and vignettes around. Keep an eye on her juicy, incisive, relatable, humorous work.
Olague is familiar with Segundo Barrio, where she attended Hart Elementary and Guillen Middle Schools, in one of the historically poorest zip codes in the United States. Her father, himself an artist, studied under Enriquez and now teaches art at Bowie High School. That background infuses her work with an intimate sense of place.

A mural by Marianna Olague at the El Paso Museum of Art. Image courtesy of the El Paso Museum of Art
The Reuben Salazar Apartments inspire her mural; they are located in Olague’s childhood friends’ neighborhood. She rendered it in a bright Juárez-inspired yellow. Windows and porches fill with familiar characters: her nephew Sebastian, her sister Maya, her father under a truck, and even herself gossiping at a doorway.
“Even though we grew up in what was technically poverty, it was colorful and full of life,” she reflects.
The mural has already become a teaching tool. During EPMA’s summer camps, students added dialogue bubbles to the figures, imagining conversations and everyday moments. As EPMA Senior Curator Michael Reyes points out, “It creates empathy — kids and visitors see themselves, their families, reflected on the walls of a museum.”
“When I visited Olague’s studio,” Reyes remembers, “I immediately saw how resonant the work was for our community.”
This summer, Reyes displayed four of Olague’s works, and EPMA members voted to add Spare, Olague’s most recent painting and self-portrait, into the permanent collection. The four proposed works balance landscapes and portraits, with each subject closely tied to her family — her sister, and herself.

An installation image of four works by Marianna Olague at the El Paso Museum of Art. Image courtesy of David Davis
Olague’s distinctive color philosophy is central to her hyperrealist style. Rather than reproducing the muted earth tones of the desert or neighborhood streets, she pushes them into hyper-saturation. “I take the colors that are already there and elevate them to a level that immediately grabs attention,” Olague says. “It marks ordinary, fleeting moments as very important. That’s what art should do: make us pause and really see.”
For On Transmountain Drive, Olague paints teal shadows darker than red skin tones, inverting light and shadow while preserving a believable realism. “It tricks you into seeing more light than there actually is,” she notes.
The colors in this work bring the heat, as does the expression of the portrait’s subject, Olague’s sister, who casually sits on the hood of a car with a near-scathing, transfixing gaze directed at the viewer.
Customer Service Representative, a searingly realistic portrait of Olague’s sister Maya as an essential worker in a Food King grocery store during the pandemic, takes the opposite approach. Here, the supermarket’s drab, unavoidable palette dominates, with vibrancy appearing only in Maya’s jacket and makeup. Maya’s glazed-over gaze is fixed beyond the viewer.
“She would rather be anywhere else,” Olague laughs. “But that’s the point: she’s just a teenager carrying a responsibility far too heavy for her age.” That work, loaned by a local collector, is currently on view at EPMA.
In Olague’s addition to the EPMA’s permanent collection, Spare, she recreates a flat tire scene at a gas station, an homage to her father teaching her mechanical and household repair skills usually reserved for sons.
“I feel fortunate,” she explains. “My dad never taught us differently based on gender — whether it was fixing a tire, an AC, or a sink. That kind of scrappy independence is part of border culture. We learn early on how to take care of ourselves.”
In the painting, Olague hefts a spare tire — the idea of “spare” as self-portrait is wonderfully tongue-in-cheek. The gritty, heat-soaked palette radiates the discomfort of a dry triple-digit high desert day. This piece is Olague. And El Paso.
According to Reyes, Olague’s acquisition wasn’t a top-down decision, but one chosen by the community through the museum’s Members Choice Program, an annual acquisition initiative running since the mid-1990s with support from the Lipscomb Foundation. Recent acquisitions include Laura Turón in 2024, the De la Torre brothers in 2023, and Vanessa German in 2022.
“It’s truly democratic,” Reyes explains. “We send physical invites and artist information to members about a month in advance. Then at the summer event, around 150 members come together to vote. The turnout is beautifully diverse — steadfast museum supporters, emerging professionals, local artists — all with a voice in shaping the collection.”
The museum’s purchase of Olague’s work has drawn strong community attention. El Paso’s Mayor Pro Tem, Alejandra Chavez, attended the voting event and became a member; board members joined in selecting the works alongside area artists.
For Reyes, Olague’s addition to the collection fills a long-standing community request: “People wanted more voices from this region, and Marianna delivers that with authenticity and sheer talent. She’s already in multiple private collections and now in three museum collections, including ours. I see her having a lasting place in El Paso’s cultural history.”
The post Self in Community, Art in Place: Marianna Olague at the El Paso Museum of Art appeared first on Glasstire.




















![[img]:nciios](https://analognowhere.com/_/nciios/nciios.png)
![[img]:nciios2](https://analognowhere.com/_/nciios/nciios2.png)
![[img]:nciios3](https://analognowhere.com/_/nciios/nciios3.png)
![[img]:nciios4](https://analognowhere.com/_/nciios/nciios4.png)




ALT