Artist Maria Reading is no stranger to US national parks and has completed five park art residencies over the past decade. These programs place artists in national parks—she’s staying in Zion, Acadia, Glacier, Denali, and Acadia.
While working as a park ranger Guadalupe Mountains National Park In West Texas, Reading, 31, found inspiration in items people left behind
He found a truck hubcap that was cracked in a way that outlined mountains. He painted the cap and named it “El (Hub) Capitan.”
“The hubcap spoke for itself,” he laughed.
Since then, Reading has been working for national parks and turning trash into something more meaningful But in 2025, his position was cut amid massive layoffs across the Park Service, and his art now serves as a voice for the parks. outside spoke with Reading to learn more about his artistic inspirations.
Outside: By pairing realistic landscapes with trash you find in national parks, your art creates an interesting tension. What larger message do you hope the audience will walk away with?
Maria Reading: I am not a zero-waste person. Many of us put a lot of pressure on ourselves to be perfect and environmentally conscious, and given the state of the world and our country right now, that’s overwhelming. It can be humiliating. I hope that my work makes people think about their own impact on this world, but also does a lot of light work.
It’s the larger impact of many people working together to limit their waste or come up with small solutions every day. Small changes, small habits to improve the environment and our communities. I think making these bite-sized gestures towards a beautiful community and environment is the big message I want people to take away from my art.
I hope that, through my art, people can see themselves reflected in objects like a water bottle, a coffee cup, or a pair of shoes – we all have shoes. Can you see yourself reflected in that item, but then can you see yourself reflected in that environment? It sparks a human connection with the landscapes around us, and my art fuels those connections and the small changes they inspire.
Can you walk us through your artistic process, from the moment you encounter a piece of trash to capturing the final image?
I have two different methods of madness.
One, if I’m hiking or backpacking or kayaking, especially when I’m focused on making art, I usually have a small baggie in my pack that contains small tubes of paint, some water, paintbrushes, and a little palette. If I happen upon a piece of trash, I sit right where it’s found and paint the surroundings.
The second method occurs when I find an object and bring it to my studio for painting using an image taken that day. Once the painting is done, I wait for a while with the same light, tide and cloud structure and then go out to photograph the piece. There have been pieces that took five or six different hikes to get the right light. Sometimes, the seasons have changed by the time I finish the painting, and it’s a reminder that the landscape continues to change; It’s not just a point in time.
How would you describe your relationship with the outdoors and in what ways does your art express that connection?
I have to live in a place that is somewhat accessible for hiking and walking, and I feel very lucky and privileged to be placed in those places. It gave me a lot of confidence, especially in my twenties and early thirties.
I’ve been able to see vast, expansive landscapes through hiking, backpacking, and kayaking. It’s an immersive way to experience the beauties of the outdoors—I feel so connected to our natural world.
Was there a moment when your work as a national park volunteer and resident really intersected with your life as an artist?
The National Park Service would not exist without artists. In 1871, the US Geological Survey went west to survey the geysers and beauties of Yellowstone, and they brought artists like Thomas Moran to paint the scenes. He painted the sweeping landscapes of the American West and brought them back to the East Coast so taxpayers could witness them.
All the areas where the national parks are now are the homelands of the indigenous people For thousands of years, these lands have also been home to indigenous industries, be it kite weaving, oral history, songwriting or bead making. There are many different forms of art that the indigenous people have used to depict these beautiful lands. Art, landscape and environment are intertwined.
How does the outdoors shape art—and how does art shape our experience of the outdoors?
Art and art making serve as a reflection tool after you leave that area. It makes your memory stronger, making your impression stronger. Art connects you to that place and the importance of preserving that place.
To put you there, or if you see a piece of art and are not there in person, you can step into that world through the eyes of the artist. It is essential for civilization. It is important for society
It is the heartbeat of what it means to be human.
