Every painting you see here is an original — made with a palette knife, one layered decision at a time. I currently don't sell prints of my originals, although I may do so in the future.

An original carries the evidence of its own becoming — ridges where the knife pushed, passages I rebuilt more than once, texture that changes with the light in your room throughout the day. A print reproduces an image. An original is the moment it was made.

All sales are final. Each painting is the outcome of real time and real struggle, and it isn't one I can make again — so I ask you to take the time you need beforehand, through photos, questions, or a conversation with me, before it comes home with you. I'm always glad to help you sit with a decision rather than rush it. (See full Terms of Sale for complete policy.)

Once purchased, the painting remains yours to pass along. Its Certificate of Authenticity travels with it like a title, carrying its story to whoever welcomes it next. If I happen to know someone drawn to that particular piece, I'm glad to make an introduction — I can't promise that I will, only that I'll keep an ear open.

Not at this time. However, if you are commissioning a collection of paintings or a very large work, please reach out if a payment plan would help — I'm happy to talk it through.

Each painting is packaged by hand with care suited to its size and medium. Once it leaves my studio and is handed to a carrier, risk of loss or damage in transit passes to you as the collector, which is why I add shipping insurance. If anything arrives damaged, reach out within 48 hours with photos so I can help you through the claims process.

It can be surprising how large paintings need to be to adequately fill a space. The size of the work is determined in context with the space where it will reside. On a blank wall, the general rule is for the art to fill around 60% to 75% of the available wall space or the width of the furniture below it, with the center of the work resting 57 to 60 inches above the floor. Above a piece of furniture, art generally should fill ⅔ to ¾ of the width of the furniture, with the bottom of the frame sitting 6 to 12 inches above the top of the furniture. However, these are mere guidelines. I’m happy to talk through your space and sizing recommendations any time.

Yes. International collectors are responsible for any customs duties or import fees assessed by their country.

You own the original — the canvas itself, its texture, its particular light. I retain the copyright to every piece I make, including the right to photograph it, print it, license it, and share it in the future. You become the original's steward. I remain its creator.

Of course — I love seeing my work out in the wild! What I ask is that you not use those photos commercially or reproduce the painting itself, since the copyright stays with me. I'd also love to be tagged and credited as the piece's creator: www.merrifox.com, @nikkimerrifox on Instagram, and feel free to use #nikkimerrifox too.

Not exactly. Images that show a painting living inside a room are AI-rendered, meant as an invitation to imagine how a piece might feel at home rather than a precise account of scale, wall color, or composition. Images of the painting on its own are photographed directly from the original, held to the truest color I can offer, allowing only for the small variance every screen introduces.

Yes — commissions are one of my favorite ways of working, because they begin with your story rather than mine.

It begins with a conversation, not a brief. I want to know why this piece calls to you — the feelings a particular landscape or reference stirs, the memory it holds — along with your choice of medium (acrylic or oil) and size. From there:

1. We talk through your story, your medium, and your size — the feeling I'll be painting toward.

2. You provide a reference photo, or, if you'd rather, I source one myself that represents the feeling and/or location we discussed.

3. From there, the painting becomes mine to make. I ask for full artistic freedom in translating that reference into a piece — the same trust I'd ask of any collector.

4. I send a quote and require a 50% non-refundable deposit to begin.

5. I keep you close to the painting's progress along the way.

6. The finished work ships once the balance is paid.

Every commission moves at its own pace, shaped by size, medium, and the particular light I'm chasing. My studio keeps an honest rhythm — one that moves around chronic illness and around two small kiddos, which means some weeks hold more than others. I'd love for you to reach out early, so we can talk through timing for your piece before it begins. And once it does, you won't be left wondering — I'll keep you close to its progress the whole way through.

No. Once a commission begins, I ask for full artistic freedom to translate your story into paint using my own hand and instincts — that's what makes the finished piece honest rather than assembled to order. This is why our initial conversation matters so much: it's where we make sure I understand what you're hoping the painting will hold, before a single mark is made.

I paint with full artistic freedom, and because a commission — like every original — is a piece I can't make twice, all sales are final, with no revisions after work begins. I know that asks for real trust, which is exactly why I invest so much care in our conversation beforehand, and why I keep you close to the painting's progress as it develops.

Should your circumstances ever change, the painting remains yours to pass along. Its Certificate of Authenticity travels with it like a title, carrying its story to whoever welcomes it next. If I happen to know someone drawn to that particular piece, I'm glad to make an introduction — I can't promise that I will, only that I'll keep an ear open.

Yes, a 50% deposit is required to begin, and it is non-refundable once work has started, as it reserves my time and materials.

No — the same copyright terms apply to commissions as to any original: you receive the physical painting, and I retain copyright, including reproduction and licensing rights, unless we agree otherwise in writing beforehand.

My work lives in landscape and light. I also paint pet portraits and wildlife on occasion. if your commission idea falls outside that, let's talk and I'll be honest about whether it's a fit.

Not yet — but it's a door I'd love to walk through.

I've been an avid fantasy reader for as long as I can remember, and I write too, so painting a book cover feels like a particularly exciting endeavor. Children's books call to me as well: the way a single painted spread can hold a whole world for a child to return to, again and again — much the way I hope my landscapes do for the collectors who live with them.

Alongside my paintings, I also work digitally in Procreate, which suits the pace and format editorial work often calls for — I'm happy to share samples of that work for reference. If you're working on a project that might be a fit, I'd love to hear about it.