I appreciate unpredictables, so much
that I may lapse into delayed work stages
of a piece, evolving toward a final
spontaneous conclusion. 
— Deborah Maiale
My work is a response to the world I live in.
Although my work has been described as a reaction to life, I recently include more visual commentary on life within my finished works. Though instinct has dominated all my other forms of expression since childhood, it now appears more often in my artwork. I crave to respond to the moment I am seeing, especially if I find it relates to my beliefs and experiences.
As a viewer of people and their verbal styles, their momentary human experience, transitions, possessions, I empathically sense what people seem to be feeling. As a viewer of nature, I gravitate toward the way many people may relate to contemporary surroundings, but with natural elements are largely missing from current daily experience.
As I start work in my media, I sense a craving for interaction between media and subject. I respond to a subject with my media, my media responds to me and I react to my media, then I return to more aspects of my subject... and on it goes, never using a formula or science or a predetermined image. I appreciate unpredictables, so much that I may lapse into delayed work stages of a piece, evolving toward a final spontaneous conclusion.
I paint with watercolor in tubes, water crayon and water-based brilliant color ink. I draw in charcoal and graphite, and occasionally use colored pencils. All these are spontaneous and layered enough for my methods. Working with live models and painting landscape on site are the best sources for my work. Occasionally I work from full imagination toward realism or do a painting of one of my previous paintings, reinterpreting. My use of color is "colorist" and I find the power of color to be irresistible.
The greatest influence on my development was Robert Wilbert, a painting instructor in my post-degree studies at Wayne State University. Richard Jerzy's own stages of development were also inspiring. Taking early artist anatomy training with Russel Keeter at College for Creative Studies gave me freedom through competency, and ultimately greater immersion in viewing people. Gradually the use of figure became human landscape to my eyes.
More timeless influences for me were Edouard Manet and John Singer Sargent for their fresh moist media toward figure, Josef Albers's methods toward color theory, and Edward Hopper's figures placed in dominant settings.
To learn more about Deborah's artwork, or to purchase her work, call 313.886.6707.
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