The Art of Belonging: How Ana Gabriela Turns Walls Into Stories

Ana Gabriela’s murals captivate at first glance. Based in Vancouver, Washington, she has completed 40+ public murals and 20+ private murals, transforming blank walls into vivid narratives celebrating local history, culture, and nature. Beyond painting, she consults with organizations, developers, and city planners to integrate art thoughtfully into communities and public spaces.

Her journey began in childhood, shaped by personal hardship and the refuge she found in creativity. “I was born and raised in Vancouver,” she says. “My mom had a lot of health issues. When I was nine or ten, I spent a lot of time visiting her in the hospital. That really fueled my art — I didn’t realize then that hospitals were places where people sometimes wouldn’t come back.” Those early experiences drove her to fill sketchbooks with images that expressed her inner world.

Homeschooled and having a 50/50 split extrovert and introvert personality, Ana spent hours creating, often drawing anime characters or turning her friends into fantastical versions of themselves. By age eleven, she was producing hyper-realistic drawings that astonished those around her. Recognizing her talent, her mother enrolled her in a fine art trade school, where Ana honed her skills in figure drawing and hyper realistic portraiture.

By her senior year of high school, Ana was stepping into the role of teacher. “I was more excited than scared,” she recalls. “I knew I had an interesting perspective to share, and I was thrilled to structure an entire semester-long class.” The small class of ten students revealed the impact she could have on others. “Watching one student thrive made me realize I was making an impact on the world,” she says. Her mentors instilled the belief that creativity and financial stability are not mutually exclusive. “I didn’t have to accept the starving artist mentality,” she reflects. “You can pursue your aspirations fully.”

After high school, Ana moved to New Zealand, working as a photographer and refining her creative eye. Yet it was mural painting that allowed her to combine technical skill, teaching experience, community engagement, and to help her make a living.

Asked how her hyper-realistic figure drawing and teaching background influence her mural work, Ana explains her approach exists in two zones. “If I’m allowed the freedom to follow my own path, that’s different than when a client comes to me with a concept. Clients often come with ideas like diversity or community, and my job is to bring those ideas to life thoughtfully, and to make those ideas work for my clients.”

On the client side, Ana begins with a discovery call, encouraging clients to share everything they envision. She assesses the wall’s texture, sends back a vision with a quote, and won’t start designing until the contract is signed. For those hesitant to commit, she offers a design fee. Once a concept is approved, she collaborates closely, sending one or two concepts and requesting brutal honesty. “This is your wall. You’re going to live with it,” she reminds them. Only when the design, colors, and vision feel right does she gather supplies and begin painting — a process lasting anywhere from three days to several weeks.

Her second major mural, the Evergreen Project, exemplifies this philosophy. “This was my second big wall ever,” Ana recalls. “I had just finished a 1,200-square-foot mural for the city. When they were looking at this bridge, which sits between our downtown library and a historic park, they brought me in immediately. I was 22, and they said, ‘You are the one that we want.’ There were a lot of things they wanted, but at the end of the day, the wall was so large and only three feet high — kids would be at eye level, and adults looking down. I wanted it to be detailed in design and something that could lift spirits, especially when seasonal depression set in.”

Ana looked to the surrounding environment for inspiration. “We have a historical garden on one side and beautiful flower plots throughout downtown. Flowers are really big for our community,” she says. She pitched the idea of an evergreen garden with native florals, berries, animals, and even pets from the community, spread across thirty panels on each side. She chose a deep green background and, rather than hyper-realistic detail, opted for whimsical realism, allowing her to design as she painted and experiment with color along the way.

The project became a marathon. “This wall was different from a lot of my other projects, which are sprints,” Ana explains. “I was there every day. My whole life was put aside to get this wall done. It was exhausting — sitting and crouching for hours, painting alone. I had no choice. I promised them it would get done, and there was no budget to hire anyone else. I had to lean on my friends and my mom to watch my work while I stepped back and tackled the background. By the end, I discovered that I actually loved it. It was long, it was hard, and it taught me that I can do anything I put my mind to.”

Community engagement was central to the project. “The people were becoming a part of the artwork. I still get emails from people telling me how much that meant. There’s even a page on my website that shows all the plants and animals, and people send me pictures of lookalikes.” The mural was completed in three parts. “When the first wall was finished, I was so proud of myself — it was a relief, but also, ‘Oh my goodness, I have to do the other wall!’ There was excitement and dread. During the winter, the community got really excited because they could see the vision. By the time one side was complete, everyone was on board. When the second wall was finished, I just went to bed for a week. It felt like such relief. I walked across the bridge and said, ‘I did this.’ I was so proud. My partner helped me stop and appreciate what an accomplishment it was.”

The unveiling in August 2024 was a moment Ana will never forget. Neighbors, representatives from the historical society, the library, her first art teacher, and even the mayor came out to celebrate. “It made me realize that my art has impact. I could never imagine my work could do that. I remember just sitting there, taking photos with the mayor, and thinking, ‘This is working.’”

What makes mural art special, Ana says, is its accessibility and welcoming nature. “It’s for everyone. I would love to be in a gallery someday, but there’s a barrier to entry there. While I was working on the Evergreen Wall, a woman experiencing homelessness came by, and she was crying. She was so grateful that I was taking the time to create something for her — that she could come here and sit and feel joy. She loved that I was doing this for her.”

“It’s important to have artists who are provocative, but for me, the physical canvas is in a public space. I want every human to feel welcome in my work. I don’t do political murals, if I do provocative or political pieces they will be done on canvas in my studio. I want a child to feel comfortable, someone in their 80s to feel comfortable. It should make someone feel better. You should be able to choose to witness it, but public spaces should be kid-friendly. Murals are above class. Everyone deserves to witness and experience them. They can humble people who have gotten a little too big for their britches. They can ground people. When you’re given a wall, you have the responsibility to create something that adds beauty, not sadness. I do not paint murals that will be covered up. I want my work to last twenty years or more.”

Innovation and interactivity are also central to Ana’s vision. “I want to make murals more interactive,” she says. One example is the Court County Public Works wall, a 400-foot installation designed for community participation. “They wanted people to come in and paint it, monochromatic, with fish in all different styles. When I came in six months into the project, I knew we could make it more professional and long-lasting. We picked 67 artists, which was crazy — I was nervous, this could go so well or so badly. But we made sure we got every fish design beforehand and avoided too many similar designs next to each other. I sketched every person’s fish to help with proportion and to make sure each artist could do their best. We had kids as young as nine and adults in their 80s. Seeing these kids participate — and some of them go on to become professional artists — was incredible. I realized I have the opportunity to create platforms for other artists to start. The hardest wall to get is your first one, but if you open the space and let people come in, many introverted artists get their chance to shine.”

For Ana’s own artistic career, she seeks to highlight the true history of a place. “My mom is Colombian, and that is very important to who I am and where I am from. I’m also in a place that has been stewarded by native peoples. We need to step back and highlight this legacy.” The waterfront mural accomplishes this. “Before that, there were only two native-inspired murals in Vancouver, which I felt was a crime. I was able to create a wall that honors this history. If you are given a platform, you should be inclusive and give credit where it is due. I want people to learn about this history. That’s why I added QR codes, so folks can go online and learn more.”

Ana’s heritage and respect for local history inform all her work. With a Colombian mother and deep awareness of Vancouver’s indigenous history, she integrates cultural narratives into her murals, ensuring underrepresented stories are honored.

Looking ahead, Ana hopes to tackle even larger projects, up to 16,000 square feet or bigger, and explore interactive murals that invite public participation. Yet her philosophy remains constant: murals should be inclusive, accessible, enduring, and uplifting. “If you’re given a platform,” she says, “you should use it responsibly, thoughtfully, and beautifully.”

Ana Gabriela’s art is more than paint on walls — it is storytelling at scale, a bridge between people, place, and history, a reminder that beauty and creativity belong to everyone.

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About George Cassidy Payne

George Cassidy Payne is a freelance journalist, poet, and cultural commentator based in Rochester, New York. He writes on art, politics, local and global issues, and the intersections of culture and community. George also serves as a suicide prevention counselor and nonprofit strategist, blending social advocacy with storytelling. His work has appeared in both local and national outlets, and he brings a reflective, human-centered lens to every story he tells.