Maia Leisz

Artist Statement

My work consists of large format landscapes in oil, which I execute on a burnt sienna ground. This gives an underlying warmth to each painting and also underlines each brushstroke, causing it to pop. I use relatively small brushes and fat, full bodied paint. I also work with a limited palette, mixing the primaries (warm and cool) to create complex colors. My energized, textural brushwork, combined with my complex palette gives my work its distinctive and timeless quality.

I am frequently asked to define the style I paint in, and the simplest answer is that it is just… me. However, I believe that every artist is influenced by what came before them and what resonates with them personally, sometimes even on a subconscious level . I have always had a very strong style, and feel that it is important for an artist to find their own unique voice and sing in it with confidence…after all, one rarely confuses a Monet with a Cezanne, because although they were contemporaries, they were also very individual, and that’s rather the point!

I spent many years painting on silk (with the obligatory outline of form with gutta) and the breaking down of compositional elements into simple shapes. These elements are still very present in my work. I have always appreciated the linear elements of the Arts and Crafts Movement. I remember as a small child feeling an affinity for Mucha’s Art Nouveau pieces (again, that linear element) and Maxfield Parrish’s color. All of these components have obviously stayed with me and influenced my individual style. It’s much like the way the elements of the soil and the weather patterns influence a bottle of wine, making it unique to that year and region.

If I was asked to coin a phrase for my artistic style, I would probably call it Linear Impressionism. I was definitely influenced by the French impressionists, because I studied art in the South of France. I love their use of complex color and tendency to create poetry rather than prose, grasping for a feeling rather than every detail. I love these things, and have sought to emulate them in my own work. However, I would be inauthentic to imitate without putting my own distinct spin on what I do.

My art is often compared to the Canadian Group of Seven, (probably due to subject matter) and I often hear references to Maxfield Parrish, Van Gogh, and Birger Sandzen, along with Monet, Cezanne, and the other impressionists. It fascinates me to see the artist that others relate my work to. I can usually see the references even if I wasn’t initially familiar with them, and generally I am avery flattered!

Put simply, I love creating. It feeds my soul. It makes me happy to make the world a more beautiful place and create something tangible that others can appreciate and derive joy from. I love creating paintings that will outlast me. There is something magical about capturing a perfect moment and making it timeless. I deeply appreciate the privilege I have of being a working artist. I am so grateful for being able to support a family doing what I love, and I thank everyone who has supported me along the way. The awesome beauty in every day is so humbling to me, and I am extremely grateful for the opportunity to capture it and share it in my own unique voice.

Custom Work

Many artists don’t really like doing commissions… I do. For me, it’s an act of love, like cooking a special meal for someone with all their favorite ingredients. I really enjoy the process of collaborating with my collectors and creating something that has deep personal meaning for them.

Mountains

I grew up in the mountains of Northwestern Montana, where the skyline was dominated by their majestic shapes. Mountains are individual in form, and capturing their mass and grandeur is a wonderful challenge.

Southwestern

I would say it took a year of deep observation before I could really say what I wanted to about the desert. Painting it is almost like painting a still life rather than a normal landscape, with the juxtaposition of objects more than a regular foreground and background. The way what is happening in the sky is reflected in the land reminds me of painting the ocean. I love painting the desert!

Lakes/Rivers

I love painting water. Its mesmerizing movement is so calming and the way the light reflects and moves upon it is ever changing and fascinating to capture.

Seascapes

I really did want to be a mermaid when I grew up… I love the ocean. I think there’s nothing more calming (or invigorating) than sea air. I love trying to capture the majesty and power of the ocean, the swirling movement of the water and the way the light reflects.

European

I studied in France and lived in both England and Italy for some time. I love the way the landscapes and the buildings in Europe have such a shared history. It is as if that which is man made has been there so long that nature has almost forgotten it’s not just a natural part of the landscape.

Aspens

I love the symbolism that aspens are all connected, like a giant family. I think they’re the ballet dancers of the tree world, tall and graceful with dancing leaves. I love the way the color of the white bark can be pushed in so many different directions.

Floral

My garden is one of my great passions. I love planting flowers and placing plants in beautiful outdoor compositions. I almost always paint my “flower portraits” from life, as I love to turn them in my hand to see just how they are formed and to be able to really examine them from different angles.

Moonscapes

It seems almost impossible to capture the moon with a camera… it always looks tiny and dark, and not at all how it looks when you are standing under its magical glow… I love trying to capture how it feels to be standing in the moonlight.

Still Life's

The French name for still life is nature mort… which literally translates to dead nature. I wanted to paint "live nature". I love Cezanne’s still life paintings because they are alive and there is nothing still about them.

Trees

Trees are often majestic, and definite individuals that have often lived so much longer than we have. They can be strong and protective or shaped by the elements, and they are beautiful. If only they could talk to us… What stories they could tell!

Wild Flowers

When wildflowers bloom, they completely change the landscape. I love capturing the wide swaths of color in this phenomenal display of nature's beauty.

Vineyards

Both of my grandfathers owned and cultivated vineyards in California, and I have many fond memories of helping prune the vines, stomping grapes, and bottling wine.

Giclée Reproductions

High quality reproductions fill a need for those who wish to enjoy Maia’s images without breaking the bank. Buying a giclée could be likened to buying a piece of fine furniture, while the purchase of an original contributes to the building of an actual art collection. Giclées are copies, no matter how one chooses to market them. However, like a good cubic zirconia, they are a beautiful imitation that can bring warmth and color to a space and can be printed up to the same size as the originals for a fraction of the cost.

The Process:

Charles painstakingly photographs small sections of each painting, stitching them together for maximum retention of detail. He uses polarized lighting for color accuracy and control of reflections. Working with printers who use quality inks that should keep their integrity for 100+ years, the resulting images have a wonderful presence that can be scaled to fit your space perfectly. The giclée process offers results that accurately mimic the original and are very long lasting and beautiful.

A Family Affair

High quality reproductions fill a need for those who wish to enjoy Maia’s images without breaking the bank. Buying a giclée could be likened to buying a piece of fine furniture, while the purchase of an original contributes to the building of an actual art collection. Giclées are copies, no matter how one chooses to market them. However, like a good cubic zirconia, they are a beautiful imitation that can bring warmth and color to a space and can be printed up to the same size as the originals for a fraction of the cost.

The Process:

Charles painstakingly photographs small sections of each painting, stitching them together for maximum retention of detail. He uses polarized lighting for color accuracy and control of reflections. Working with printers who use quality inks that should keep their integrity for 100+ years, the resulting images have a wonderful presence that can be scaled to fit your space perfectly. The giclée process offers results that accurately mimic the original and are very long lasting and beautiful.