Maggie Parr grew up in Ohio and went on to study Fine Arts at Pomona College in Southern California. She began her career working in Illustration for Gemini Graphics and then Walt Disney Imagineering, where she designed a carousel for their Shanghai theme park. After years of commercial design for clients around the world, she visited Petaluma and decided that was where she wanted to live. Maggie is now the Program Manager for Petaluma Arts Center, as well as working with clients to help tell their stories and coaching others on how to channel their creativity. That’s how PGWA met Maggie, and began working with her on our recent Wine & Art event at Beaumont Farms.  Here’s her story.

You grew up in central Ohio. Can you tell us about your childhood and what you experienced as a young woman?

My hometown was home to Kenyon College, where my parents taught—and apparently, it’s considered one of the most haunted towns in the U.S. A medium on the Phil Donahue show once named Kenyon as one of the five “gates to hell.” The students had a lot of fun with that over the years—but as a sensitive kid, I felt scared a lot of the time by the energy in the town! So when I had the chance to get out at 18, I sprinted out of there. Thanks to my good grades and being captain of the swim team, concertmistress of the country orchestra, and co-editor of the yearbook, I snagged a full scholarship to Pomona College in southern California. I never went back.

You have a degree in Fine Arts.  Where did you go to school, and what led you to pursue a career in the Arts?

Initially, I wanted to be a psychologist, and I did NOT want to be a broke artist like my mom. But I kept getting A’s in art, while my college psychology classes proved much more challenging. So I reluctantly switched majors. But I preferred Illustration over Fine Arts—a feeling that was cemented during a stint as an apprentice at Gemini Graphics Editions, Limited. I worked with stellar artists like Roy Lichtenstein, Claus Oldenberg, and more. I was in the upstairs gallery one day when a businessman and his wife and interior designer were haggling over a Sam Francis print, which they only consented to buy if they could turn it sideways to fit over the couch. That and other disillusionments led me away from the art world into Disney Imagineering, where I learned to design theme park attractions. I did that for 30 years (until the pandemic), both as a full-time employee and independent contractor. I built my own painting practice over the years, honing my expressionist style, showing occasionally, and doing commissions. I also wrote novels, screenplays, and comics.

A few years ago, you moved to Petaluma.  What attracted you to make the transition from big city to small town, and why Petaluma?  What do you enjoy about living in the North Bay?

My partner and I visited a friend’s ranch on Sonoma Mountain, overlooking Petaluma—and we immediately fell in love. I was amazed that people could live like this! It was so relaxing, abundant, clean, and beautiful. People smiled and let you go first in four-way stops. And the area feels spiritually uplifting to me. I offered to paint a bee-themed mandala on my friend’s ranch (he’s a beekeeper)—and by the end of that week, I was hooked. My partner and I sold our house in L.A. and moved to Petaluma. I miss my friends in L.A., but I’ve made new ones here. And I love living among ranches, vineyards, and wide-open spaces, eating fresh farm eggs and locally sourced food. The beaches up here are gorgeous. And the people in Petaluma are so friendly and community-oriented.

It must have been so fun to work for Walt Disney Imagineering.  What was your favorite design project with them?  Any special stories to tell?

My favorite project was designing the Fantasia-themed carousel in Shanghai Disney Resort. I was given a lot of creative freedom on that project. I got to design all the horses and chariots, the sculpted characters and rounding boards, color palette, vehicle placement, and even paint all the murals. It’s a jewel in the park. And how often does a person get to design an actual carousel from scratch??

There are a lot of strange moments when you’re working for a theme park company. Like, sitting in a room full of adults talking about the diameter of Ursula’s arm fat (for a Little Mermaid attraction). Or being told, in all seriousness, when I proposed a Van Gogh-style portrait of Goofy with a bandaged ear, that it wasn’t possible because “Goofy would never do that to himself.” But overall, it’s so much fun it’s hard to believe you’re actually getting paid.

Besides working for Disney, are there other brands that have hired you to do commercial design for them?

I’ve designed theme park attractions for Universal, Hettema, and different companies in China. I’ve done private commissions for clients around the world. I’ve also illustrated books and book covers, painted portraits and murals, created movie props, and even forged checks for Bank of America. Well, not really. I created duplicates of archival materials for display, including original checks from the 1800s. When you’re a professional creative, you get to do all kinds of interesting things for clients. Although I’d never painted art on a wine barrel before working with PGWA! Ukeleles, shoes, barns, kitchen cupboards, chairs, vintage tools—but never a wine barrel.

As an artist, you’ve painted murals and portraits among many other things.  What is the most memorable feedback you’ve received from those who have acquired your artwork?

I’m so honored when clients tell me they cry when they see my work. I somehow capture the spirit of a subject or person (even a Disney character) that shines through in the final painting. When a viewer connects with it so deeply that they’re moved to tears, that makes me feel like I’ve created a successful work of art. I’ve channeled something bigger than me.

But not all my work makes people cry! In fact, most of the time it makes them smile. It has energy. I think a lot about the person I’m doing a painting for. I want them to feel uplifted, inspired, and loved simply by looking at what I created for them.

One of your statements in a recent newsletter struck home: “creativity thrives in community.” What impact does community have on the solo act of creating a work of art?

The night of the event, I looked around and saw the power of creativity in the room, spinning a collective joy that permeated the space. The artists were having a great time. Their painted barrels were like ambassadors bringing light to new lands—where they were welcomed and appreciated. The bidders enjoyed winning their artworks. The people from the wineries enjoyed the extra energy at their event. And I realized something: creativity thrives in community. The more we work together, the more energy we generate for our projects. Partnership makes it more doable, fun, and successful.

Personally, I discovered that I do my best work when I’m serving a cause, a client/student, or a community. Some artists thrive in solitude, dancing alone with their Muse. But I prefer to co-create; to offer my work in service to community, connection, and love. In fact, creativity is an act of love: it’s what I have to offer. I can’t fix the problems of the world, but I can uplift myself and others with what my talents and skills produce.

You also teach, mentor, and do creativity coaching. How does that fit with your art?

It’s a natural extension of my passion for art and community. It started with my move to Petaluma, which coincided with a reduction in my theme park work due to the pandemic. I curated an exhibit at the arts center that included lowrider cars, and I met a local tattoo artist who wanted to learn classical oil painting. As it turns out, I wanted a tattoo, so we did a trade. A friendship grew out of that, and he arranged for me to teach workshops at his studio. My teaching took off from there.

Then I decided to write the book I’d always wanted to read: “A Creator’s Guide to Stopping Self-Harm.” It’s a prescriptive guide to help those who struggle with this behavior, using creativity as a modality to recover. I healed, and wanted to share my experience, strength, and hope with others. In the process, I decided to get certified as a peer support specialist and get trained as a creativity coach. Now, I guide and mentor people in a wide variety of areas, using creativity as a tool to improve people’s lives.

I guess I’ve come full circle to those college days when I considered Psychology as a major. I just combine it with my art in a unique way that fits my experience and passion.

We met you through the Petaluma Arts Center this past summer when PGWA was looking for a venue for our annual consumer tasting, called Wind to Wine. Can you share how we got connected and what led to last month’s PGWA & PAC collaborative event called Wine & Art: A Sensory Celebration of Petaluma’s Harvest and Artisans?

One of our board members initially reached out to PGWA to propose a collaboration of some kind—but it wasn’t until you were looking for a venue that we came together. We had a connection with Beaumont Farms and extended it to PGWA. You guys had empty wine barrels for our artists to paint. That day at the farm, we talked about what we might do, and the idea solidified into a real event. It felt like magic! From then on, we worked hard to hammer out details, and everything fell into place to create a successful new experience.

The Wine & Art event was a challenging one to produce, but ended up being sold out, and a delightful experience for all who attended.  What do you think appealed to guests, and if we decide to do it again in 2026, how do you think we could build upon that success?

I think it was a perfect pairing—wine and art definitely go together. Some of the local vineyards have been donating wine to our art openings for years. But this was the first time we partnered with PGWA—and it was a fabulous success. The 27 painted barrels were arranged in the center of the event space, and they brought so much creative energy, whimsy, and magic into the room. Even those who didn’t bid on them enjoyed the experience. And of course, the artists loved being there, sipping wine and interacting with viewers. If we work together in 2026, we may add other painted items, not just wine barrels.

Now that you’ve seen the commitment that Petaluma Gap grape growers and winemakers have to their craft, as a creative and gifted storyteller, do you have any suggestions on ways that our industry can better tell their stories, to attract younger wine consumers?  As you know, Gen Z is an essential audience that has been turning to alternative beverages. 

I was surprised to learn so many new things about wine in the region—for instance, the fact that 70% of it is pinot noir. And it was interesting to learn about how the grapes are grown and harvested. It truly is an art form! One thing I learned from Disney is that story is key. We communicate, sell, and promote through storytelling. And a good story always lies in the details—personal experiences, moments, and surprises. I think that if the wine industry highlights individual narratives that communicate their passion and expertise, they might draw more fans. Even though I don’t drink, I can appreciate the love and care that go into creating a good wine—and I appreciate all the stories I’ve heard!

You can see Maggie’s work and inquire about commissions at www.maggieparr.com, or on Instagram @maggieparrart. If you’d like to take her classes, visit www.parrcreate.com.W