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Local artist Lisa diStefano uses the Louisiana landscape as the subject of most of her work, but these aren’t your typical Louisiana landscapes. DiStefano, instead, chooses vivid hues and multilayered brushstrokes to create her abstract works. Over a cup of coffee she talked about the work that influences her most, how hard it is to open oneself to criticism and the fabulous world of trade.

Everyone’s told me you are really reluctant to talk about your work. Why is that?

It’s like hanging yourself on the wall. See, I wouldn’t mind having openings if I didn’t have to be there and I didn’t have to hear myself speak or hear everyone else’s opinion.

Well, what you do is so personal.

It is. It’s very difficult not to worry about what people think and if they agree or disagree. It shouldn’t matter, they’re my paintings, but I take everything to heart. I try not to. I’m working on it.

You studied under some talented artists at LSU—Ed Pramuk, Michael Crespo, Robert Hausey. How have these artists affected your own work?

My art has changed so much from my days at LSU. The biggest impact they had was allowing me to think on my own, yet offering their guidance. They gave me a path and then allowed me to shape it.

Who are some of your favorite artists?

Elmore Morgan Jr., for one. I took a workshop from him years ago in St. Francisville. It was a real treat. He’s such a kind and wonderful person and I love the energy in his paintings, the brushstrokes. Wolf Kahn would be another one I admire, and George Dureau, the New Orleans artist. He painted very few, but I love his landscapes. He captures Louisiana so beautifully. You look at the painting and know where you are.

What local artists do you have in your own collection?

Scott Finch, Harvey Harris, George Marks, Jill Hackney, Saliha Staib, Tony Green. It’s funny. Most of my furniture is second-hand, but I have some really incredible art. I’d be in real trouble if I ever had a fire.

I’m always jealous of artists’ ability to trade their work. What’s the coolest thing you’ve ever traded a painting for?

I’ve traded my paintings for some crazy stuff. Some I’m embarrassed to say. One of the coolest, though, would have to be when I went to go close on my condo. I started asking the guy about the closing fees and wanted to know exactly how much they would be. It was something like $2,200, and I couldn’t believe it. That much money for a simple, 30-minute process. Well, I didn’t know this guy but he said to me, “My wife wants a painting, and I will remove your closing costs in exchange.”

I’ve read that some of your work is in some pretty big collections, like the Bellagio in Las Vegas, the Ritz Carlton in Miami.

It’s been so exciting. I’ve been working with a consulting firm out of Atlanta called Faulkner and Locke. They have been wonderful, and they are responsible for my work being part of more corporate collections. When the Bellagio called, I hesitated and didn’t really want to go the route of “hotel art.” But, then I started thinking about it and remembered that the Bellagio has a wonderful collection and has made a big investment in art, so I finally said yes.

Tell me about your recent show, Moving Impressions. What was your inspiration?

The majority of the work in this past show is from a trip to Grand Isle, of all places. I honestly had no interest in Grand Isle before, but I lost my father last year and friends of his invited my whole family to Grand Isle on a fishing trip—my dad liked to fish. I was so closed-minded and went with the notion that I’m only doing this for my father. And I went, and it was in the spring, in April, and I took pictures while moving, sticking my camera out the window and clicking as I went and they made these beautiful, almost abstract photographs. That’s why I called it moving impressions. I can’t believe how close-minded I was. It was quite beautiful—the water, the sky.

How has your father’s death affected this work?

This show was really an inner struggle for me. It’s hard to talk about it, but there are things in the paintings that aren’t going to be seen by most people. I have questions about death and religion, you know? In a lot of the paintings you’ll notice there’s a lot of chaos on the ground and the skies are very subtle. It’s very symbolic for me. This show has become more personal than anything I have ever done before. I guess that’s why I’m very fond of this particular show. I’m exposing more of myself.