Technique and Artistic Style
Liz Maw works primarily in oils, applying paint to create a complex mixture of contemporary subjects and references from historic religious painting. She often uses people from her immediate environment, drawing models from the art world and her own community. These figures are not mere portraits; they are integrated into a new order of icon painting. She mixes the faces of celebrities or people she admires with pseudo-religious symbols, often using color, stars, and light to create a certain mystic glow around the subject.
There is a deliberate tension in how Liz Maw handles her subjects. Her paintings are often ornately framed, emulating the style and appearance of European old masters. However, she subverts these grand intentions through a sensuous treatment of her subjects and a focus on fine detail. This approach allows her to celebrate and question the distinctions between high and low art. Her fantasy figures frequently depict women, exploring the idea of the femme fatale through this layered, symbolic lens.
Key Works and Notable Paintings
The early years of her practice show a steady engagement with different surfaces and mediums. In 2001, she produced Aura, an acrylic work on board. By 2003, her focus shifted to oil on board for My love. These pieces reflect a developing way of handling light and subject matter through the physical weight of the paint.
Her later works often lean into more complex compositions. Daughter of Cain, lover of Judas appeared in 2006, an oil on board piece that continues her interest in religious themes. Around 2009, she created Venus from Hell, a work held in the Auckland Art Gallery Toi o Tāmaki. More recently, her 2025 painting Queen of Dreams was executed in oil on linen.
- Aura (2001)
- My love (2003)
- Daughter of Cain, lover of Judas (2006)
- Venus from Hell (about 2009)
- Queen of Dreams (2025)
Where to See the Works Today
Her paintings are kept in several public spaces across New Zealand. You can find her work within the Auckland Art Gallery Toi o Tāmaki. The Chartwell Collection and the James Wallace Arts Trust also hold pieces from her practice. These collections keep her paintings in permanent storage or on display for those who visit.
Other pieces have found a place in the Museum of New Zealand Te Papa Tongarewa. The University of Auckland also maintains works by her in its collection. These locations hold the physical remains of her oil paintings and other studies, preserving the specific textures and colors she applied to the boards and linen.
