Marie Lavallée's art is fun and relatable. Once a goldsmith, the mixed media artist now paints animals on birch panels, using metal leaf to accentuate the natural characteristics of her chosen subjects. Marie shares how the well-known duct-taped banana artwork by Maurizio Cattelan inspired one of her series, and how she transforms her love for all kinds of birds into art. Marie has recently been accepted into the renowned Festival of Arts Fine Art Show in Laguna Beach and is thrilled to exhibit her work among fellow artists this summer.
1. Your various mixed media collections are beautifully crafted. The gold or copper background leafing found on your paintings really emphasizes the wittiness and originality of the portrayed animals. Can you share the different steps in creating your series?
Thank you! It took years to perfect this style, and I truly cherished the process. I paint on birch panels with rounded corners, crafted in Oregon, and when I first got them, they completely transformed my art. The first step is the less glamorous part: sanding and sealing. Since I live near the ocean, I seal them with two coats of matte medium. Then, I either paint or metal leaf the background shape, sealing this step twice. Next, I paint the subject with acrylic paint. I start by painting broadly with the underlayer and then quickly move to fine strokes with a rigger, experimenting with different colors to achieve the desired effect.
2. Which materials do you commonly use for your animal art? What determines your choice of subjects for your work?
I like to paint in acrylic, but since I'm allergic to oil paints, I use oil paint techniques. It's just part of the deal!
Usually, the subject for my painting comes to me as I'm wrapping up a piece. I get these quiet images in my head, and then they start to get louder — I get obsessed. It's like quietly humming and then suddenly you're singing with joy.
When I pick a subject, I usually have an idea in my head. I do some research online and find little pieces that fit into my overall plan. I might use the head from one image with the body from another, and the coloring based on another, and so on. I don't try to make it super realistic; actually, I'm adding a lot of whimsy to the feather work now.
Usually, the subject for my painting comes to me as I'm wrapping up a piece. I get these quiet images in my head, and then they start to get louder — I get obsessed. It's like quietly humming and then suddenly you're singing with joy.
When I pick a subject, I usually have an idea in my head. I do some research online and find little pieces that fit into my overall plan. I might use the head from one image with the body from another, and the coloring based on another, and so on. I don't try to make it super realistic; actually, I'm adding a lot of whimsy to the feather work now.
3. How did you become a mixed media artist? When did you first start painting, and did you have a formal art education?
I started painting when I was a kid and just adored it! While in high school, I took night classes at a painting academy in Quebec City, founded by Sylvia Araya, a classically trained artist. She taught me to look beyond just shapes and colors.
After college, I became a goldsmith and then designed jewelry, first for a manufacturer and later for a high-end clientele at a famous jewelry store in Toronto, Canada. I painted beautiful pieces of jewelry using gouache, which was such a blast — it was like painting in miniature!
After many years, I moved into the retail jewelry world, planning to retire around fifty and return to my first love, fine art painting. At 50, I had a life event that sparked a big change, and I picked up a paintbrush and never looked back.
I'm mostly self-taught, but when I mix colors, I can still hear the echoes of my training by Sylvia Araya, and I'm so grateful for that important foundation.
Eventually, I started exploring different mediums, some of which were more successful than others. Gold leafing and copper leafing have become my signature style; I guess that's where my love for fine metal shines through.
After college, I became a goldsmith and then designed jewelry, first for a manufacturer and later for a high-end clientele at a famous jewelry store in Toronto, Canada. I painted beautiful pieces of jewelry using gouache, which was such a blast — it was like painting in miniature!
After many years, I moved into the retail jewelry world, planning to retire around fifty and return to my first love, fine art painting. At 50, I had a life event that sparked a big change, and I picked up a paintbrush and never looked back.
I'm mostly self-taught, but when I mix colors, I can still hear the echoes of my training by Sylvia Araya, and I'm so grateful for that important foundation.
Eventually, I started exploring different mediums, some of which were more successful than others. Gold leafing and copper leafing have become my signature style; I guess that's where my love for fine metal shines through.
4. Where do you find inspiration, and what might hinder your ability to create art?
With a rich inner world, I often revisit happy memories from my childhood, growing up at a summer cottage near Quebec City. We had these barn swallows that would dive bomb us when we got too close to their nest. I was completely enchanted by how their feathers would light up in the sunlight. Making eye contact with a fierce swallow is magical.
A more recent happy memory is when a flock of California Quails landed in our yard about 20 years ago. Having moved to Southern California, I was instantly captivated by their ridiculously cute appearance. I love painting them; the moment one of my quail paintings sells, I paint another one.
My son took a picture of a steel pigeon at a zoo quite a few years ago, and I had to paint it. I ended up painting it five times. That photo is the reason I'm painting today.
A clean and pristine studio space is counterintuitive to my creative process; in fact, it paralyzes me completely. I will mess up the space on purpose to feel more comfortable. Kind of like the white page effect to a writer.
When I'm not particularly inspired, I work at prepping my panels, sanding them, sealing them, and after a few days, I start daydreaming about birds or a small woodland animal, and then I'm back on track… in a slightly messy studio. Bliss….
A more recent happy memory is when a flock of California Quails landed in our yard about 20 years ago. Having moved to Southern California, I was instantly captivated by their ridiculously cute appearance. I love painting them; the moment one of my quail paintings sells, I paint another one.
My son took a picture of a steel pigeon at a zoo quite a few years ago, and I had to paint it. I ended up painting it five times. That photo is the reason I'm painting today.
A clean and pristine studio space is counterintuitive to my creative process; in fact, it paralyzes me completely. I will mess up the space on purpose to feel more comfortable. Kind of like the white page effect to a writer.
When I'm not particularly inspired, I work at prepping my panels, sanding them, sealing them, and after a few days, I start daydreaming about birds or a small woodland animal, and then I'm back on track… in a slightly messy studio. Bliss….
5. You often combine animals and fruit in your work. How did you come up with this concept? What does this fusion signify for you?
It all began with that famous duct tape banana performance art piece that fetched millions a few years ago — talk about marketing genius!
I decided to paint a banana with a bird as a tongue-in-cheek comment, and guess what? They keep selling! I just keep painting another one whenever one sells, and it's been a blast. The titles are so fun too: "Top Banana," "Second Banana," "Going Bananas," and "Banana Drama," just to give you an idea.
The idea of pairing fruit and birds in paintings is a classic one, and I wanted to put a modern, witty spin on it. It's such a fun project!
My backgrounds are simple and Zen-like, with shapes that feel like portals — spotlight/sun-moon simplicity that I enjoy contrasting with a highly detailed, almost realistic painting of the subject. This combination is my take on Audubon's bird paintings.
I decided to paint a banana with a bird as a tongue-in-cheek comment, and guess what? They keep selling! I just keep painting another one whenever one sells, and it's been a blast. The titles are so fun too: "Top Banana," "Second Banana," "Going Bananas," and "Banana Drama," just to give you an idea.
The idea of pairing fruit and birds in paintings is a classic one, and I wanted to put a modern, witty spin on it. It's such a fun project!
My backgrounds are simple and Zen-like, with shapes that feel like portals — spotlight/sun-moon simplicity that I enjoy contrasting with a highly detailed, almost realistic painting of the subject. This combination is my take on Audubon's bird paintings.
6. What fascinates you about nocturnal animals? What can we learn from them?
I'm really drawn to painting Barn Owls. I especially love their colors and those big, expressive eyes. They're such active creatures that come out at night and are amazing at blending in during the day. They play a crucial part in the ecosystem by helping to control the rodent population.
It's amazing how much birds and animals do for us, but we often overlook it. I hope my art helps people appreciate their beauty.
It's amazing how much birds and animals do for us, but we often overlook it. I hope my art helps people appreciate their beauty.
7. Where do you like to exhibit your work? Can you share a story about a special painting and the public reaction to it?
You can find my work at Artist Eye Gallery in Laguna Beach, California. I also participate in the juried pop-up art events in Southern California, and I'm proud to be part of The Other Art Fair in LA.
I truly enjoy connecting with people, as painting in my home studio can be quite a solitary endeavor. When someone says, "Oh Wow!" or laughs, it brightens my day immensely.
After years of applying, I'm thrilled to have been accepted into the Laguna Beach Art Festival — a highly esteemed art fair that runs for six weeks and showcases over 125 professional artists from throughout Orange County.
I truly enjoy connecting with people, as painting in my home studio can be quite a solitary endeavor. When someone says, "Oh Wow!" or laughs, it brightens my day immensely.
After years of applying, I'm thrilled to have been accepted into the Laguna Beach Art Festival — a highly esteemed art fair that runs for six weeks and showcases over 125 professional artists from throughout Orange County.
8. Is there a local community of creatives that you share your work with? Who is your biggest fan?
I like to work in my own little world so that I can stay true to my goals. But I do have trusted artist friends who encourage me.
My youngest sister is a great source of encouragement. She owns quite a few of my plumb pieces.
My biggest supporter is my husband; he's a quiet, caring person. We've discovered that our different personalities work well together. He's more of a numbers and engineering person, while I'm the artistic one with lots of crazy ideas. We've been together for 38 years and are still going strong.
I have had the pleasure of connecting with several collectors who have become not only valued acquaintances but also trusted sources of positivity. To maintain these connections and foster a supportive community, I publish a monthly newsletter.
My youngest sister is a great source of encouragement. She owns quite a few of my plumb pieces.
My biggest supporter is my husband; he's a quiet, caring person. We've discovered that our different personalities work well together. He's more of a numbers and engineering person, while I'm the artistic one with lots of crazy ideas. We've been together for 38 years and are still going strong.
I have had the pleasure of connecting with several collectors who have become not only valued acquaintances but also trusted sources of positivity. To maintain these connections and foster a supportive community, I publish a monthly newsletter.
9. How do you see the relationship between humans and animals? What can animals teach us about life and art?
I think animals are like the quiet protectors of our environment. It feels like things aren't quite right now, and I'm hoping my work can, in some small way, help us see the worth of other living beings.
I'm aiming to capture that special, magical moment when an animal and a human connect — a moment that stirs awe and wonder.
I'm aiming to capture that special, magical moment when an animal and a human connect — a moment that stirs awe and wonder.
10. What do you see as the greatest accomplishment of your artistic career, and what is your future goal as an artist?
Getting accepted into the Laguna Beach Festival of Art has been a dream of mine for the past 15 years. So, you can imagine how thrilled I was when I received the acceptance for Summer 2026! It's an amazing experience that pushes me to grow.
On a personal note, whenever a piece of art finds a loving home, it feels like a real success to me.
I'm aiming to find gallery representation that offers a vibrant and productive experience. I'd like to shift my focus from pop-up tented events to art events at convention centers in the future.
On a personal note, whenever a piece of art finds a loving home, it feels like a real success to me.
I'm aiming to find gallery representation that offers a vibrant and productive experience. I'd like to shift my focus from pop-up tented events to art events at convention centers in the future.
Follow Marie on Instagram at @wittyartstudio and visit her website at wittyartstudio.com