Women in the cities

The cities Urbanic loves, and the women we meet there.

Discover how they wear Urbanic, reflecting the distinct mood and vitality of their cities. Though they differ in neighborhood, age, and interests, we find fresh inspiration in the women who freely enjoy Urbanic's style in their own way. Explore diverse urban individuals and their unique senses of style through Urbanic.

Nuria Maria, Rotterdam

Dutch artist @nuriamaria_nm Nuria Maria expresses moments of weather, light, and the seasons through abstract paintings.

Born into a family of artists, she naturally immersed herself in the creative world. She dedicates herself to her work, moving between Rotterdam and the tranquil countryside.

We spent time with Nuria Maria, who creates intense and captivating marks on the canvas by layering colors and breathing small life into them, driven by a pure love for nature and deep, personal reflection.

Look 1: Allign Shirt in Burgundy with embroidery detail, Judy Denim Pants in Black, Palette Knit in Brown draped over the shoulders, and Dome Ring and Band Ring in sterling silver—all by Urbanic30.

Desert Moon Earrings by Folk/N

Look 2: Scout Shirt in Khaki, Judy Denim Pants in Black, Rustic Chore Jacket in Suede, and Rings—all by Urbanic30.

Desert Moon Earrings by Folk/N

Urbanic (U): What is your first morning routine, the way you start your day? And how do you begin in the studio?

Nuria Maria (M): I prepare tea or coffee, light an incense (or a candle in winter), and put on music. I start with calm music, like classical or jazz, and switch to something with a swing rhythm when I need energy. On days I wake up early, I like to begin the day with a walk on the hills. I try to remove anything that might distract me before I start painting.

I like creating a conducive atmosphere for work. I learned it's important to keep the studio clean to help me focus, much like a chef organizes their kitchen. Especially when the stress of a deadline is high, I've realized how much maintaining the studio's atmosphere affects my mindset.

I always work in a studio either inside or very close to my place. That way, I can start working right away in the morning without being distracted by too many other things. I'm currently renovating a barn in the south of the Netherlands into a home and studio. It's a big project, but I really look forward to living and working there.

U: Was there a memorable moment that made you decide to become a painter?

M: I grew up in a family of artists—four generations. I spent a lot of time in my parents' studios as a child, and we would discuss and appreciate art together every day. My parents often took me to Italy to see frescoes in museums and churches, and we also visited beautiful places in Tuscany and Umbria where nature and culture were woven together.

After graduating from high school, I had a period where I was a bit lost. I briefly studied Cultural Knowledge and Psychology at university, then I went to Florence for a language exchange, and I finally realized—what I truly wanted was to ‘create’. Those few months were the time I decided to dedicate myself to art.

U: What do you consider most important in your creative process? Is there a stage you focus on particularly?

M: The moment when form and color find their essential nature together is very important. A kind of 'atmosphere' or 'weather' must be felt within the work. The structure of the paint and color—the surface built up by layered pigments—must feel alive. When layering colors, I especially focus on whether 'space' or 'air' remains within that structure. The work needs to be able to breathe. And there must always be a degree of earthiness in the color, like a kind of umami.

The balance between layering and airiness, and maintaining a natural tone while using intense colors—these are the two areas I focus on. The composition must function naturally, without needing explanation, and immediately feel correct. Ultimately, these factors determine for me whether the work is a success or a failure. I am satisfied only when these three elements—color, structure, and composition—come together.

And then there's writing. When I start painting for an exhibition, sometimes even before that, a film begins to be written in my head. The camera, so to speak, begins to roll. I follow landscapes and seasons, looking for the right location and backdrop for the story to unfold. While preparing for an exhibition, I see the pieces as chapters or clips of a story. The exhibition is complete the moment the imagined landscape is finished. I write a lot about my paintings, and in the end, there is always a piece of text or a poem left. It's often written in an elevated and repetitive manner, like a mantra or a hymn. This ultimately connects the three elements—the story, the background, and the painting—into a single circle.

<Night Blue Diptyque (2025)> Acrylic on linen, 210x100cm

"The <Night Blue Diptyque> captures the changing hues of the sky across two canvases, like turning pages between the passage of time." She wrote this beautiful poem about the work:

‘Night Blue’

Turns into silver

Morning dew and pink over the hills  

Rising the clear depth of the day  

Morning calm  

Blue under a Northern rain  

When a soft wind sets the night sky clear again  

I remember that

While all the Summers in the wild

And all the Winters looking back  

For all the days still yet to come

Behind the blue is black.

U: The technique of layering colors on the canvas was very impressive. Are there any colors or color combinations you are currently drawn to or captivated by?

M: Lately, I've been exploring a more dried-out colour palette: faded, dry tones like the colors of dried flowers, and the natural autumn palette—wood, deep night, grey, autumn fields, foggy mornings, forests, dried grass, smoke, and fire. There is a wide variety of warmth even in the colder seasons.

U: We’ve heard that you work between the Dutch countryside and the city of Rotterdam. What is the biggest difference between the two, and what do you enjoy most about each place?

M: I was born in Limburg, in the south of the Netherlands, and I live there again now. After graduating from the art academy in Maastricht, I spent a few years in Rotterdam with my sister. But to be honest, I didn't spend much time there. I often felt the urge to leave the city after just a few days and return to the countryside.

I need space, silence, and fresh air. I feel the countryside is much more suitable for painting. I love simplicity, and everything in my simple life is carefully chosen. However, when I do feel like I want to see more, I go to the city. Since Paris and London aren't far, their cultural richness helps fill my imagination. But home embraces quietness and more nature. This combination is ideal for me. I can't concentrate when surrounded by too many people. Nature is always the center of my painting world.

U: Thank you for joining the shoot. Among the pieces you wore today, which one did you like the most?

M: I liked all the pieces I wore during the shoot. Each one was made of beautiful materials. When choosing clothes, I prioritize comfort and fit. They need to feel good when worn, and the materials must be of high quality.

The brown wool sweater, in particular, was hard to take off. I loved it. It’s a classic and beautiful sweater. The khaki shirt had a very cool energy—the kind of piece that adds vitality when you wear it. And the suede jacket is truly beautiful! It was an attractive dark brown suede, a timeless classic design for the cozy seasons.