South Florida artist Deborah Perlman is a graduate of Boston University (BFA, sculpture) and Cranbrook Academy of Art (MFA, sculpture). After graduate school, Perlman ventured into communications, enriching her creativity through travel and special assignments. Since dedicating herself to art full-time, she has been featured in several art publications, and her work has appeared in exhibitions nationwide, earning awards. Perlman’s work is held in private collections, and she is a member of regional and national professional artist organizations.
Influenced by her training, Perlman creates abstract wall-mounted sculptures. She invites viewers into her "almost-but-not-quite-real" spaces, which land somewhere between authentic and imagined, drawing them into the scene to discover where they find themselves. Perlman is currently working with paper, wire mesh, wire, fabric, wood, plastic, and adhesive and continually looks for new materials to integrate into each piece. Building three-dimensional forms, she adheres each element to the base, then juxtaposes them to highlight their points of contact and the shadows they cast.
Her influences span African sculpture, the Constructivism, Geometric Abstraction, and Cubism art movements, the work of Louise Nevelson, the "illogical perspective" of Giorgio de Chirico and M.C. Escher, Joseph Cornell’s shadow boxes, and Frank Stella’s metal reliefs, among many others.
Statement
Enter a World Somewhere Between Real and Imagined
Depicting an almost-but-not-quite-real world somewhere between authentic and imagined, my art slides in and out of reality, compelling me to challenge previous ideas and established thoughts.
I find excitement and a sense of anticipation in three-dimensional forms and spaces. Creating wall-mounted sculptures draws me into a new world, challenging me to explore and go beyond what I know. When I create these spaces, I find a sense of mystery and get a peek into the unknown.
My goal is to create spaces that stir the senses, spark ideas, images, and memories, and challenge you to consider: What is it? Where is it? What do you see and feel? And do you find yourself in it, or not?
Inspiration may come from anywhere—personal life experiences, nature, architecture, and world events. The key element for me is to keep my mind, eyes, and spirit open to whatever appears and to honor my voice. I invite you to glimpse into my interpreted world and find your place within it.
Interview with Deborah Perlman
How has your background in sculpture influenced your approach to creating abstract wall-mounted pieces?
My training in sculpture drives me to see and build in three dimensions. I respond instinctively to interesting spaces and the shadows they cast, and I always want to place myself in their domain.
What draws you to work with diverse materials like paper, wire mesh, fabric, and wood in your sculptures?
I love the juxtaposition of different materials! Paper is perfect for creating 3D forms by cutting, scoring, and folding it. I love how wire mesh sparks questions: does it define a protected—or restricted—space? Wood brings a "built" quality to my forms and spaces, and fabric suggests domesticity. Each material offers themes and adds to the overall story of each work.
Can you describe your process of juxtaposing elements to highlight their points of contact and the shadows they cast?
I build most of the three-dimensional forms with paper by designing a template, so I know where it will fold and how it will adhere to the base of the work. I then find the right color and texture for the paper by using a diverse collection of digital colors and backgrounds and printing the right color onto the paper. The next step is to trace a template of my form onto the paper, then cut, score, and fold the paper. Seeing this sculptural form on the base of the work changes everything and spurs me on to explore this new space.
How do your influences, such as African sculpture and the works of Louise Nevelson and M.C. Escher, shape your artistic vision?
The juxtaposition of shapes and forms in African sculpture gives me so many ideas for my work. I particularly like how this genre breaks up figurative forms into geometric shapes. Louise Nevelson’s sculptural environments used shapes and forms evocative of the urban landscape, as well as nature and celestial bodies. They told stories, which is an important aspect of my work. I am inspired by M.C. Escher’s almost-but-not-quite-real "impossible" architectural spaces, which pose questions to the viewer.
What themes or messages do you aim to convey through your "almost-but-not-quite-real" spaces?
My pieces blur the line between reality and imagination, sending the message that life isn’t always straightforward. I challenge viewers to contemplate their place within this idiosyncratic world—a place that embraces life’s complexities and uncertainties as fundamental aspects of human existence. Logic bends and twists, a reminder that life is a complex tapestry of compromise, questions, acceptance, mystery, and the unknown. I see it as a field of gray, punctuated by splashes of black and white. While gray may seem unassuming—even mundane—it’s within this palette that my most profound life lessons have presented themselves.
How do you hope viewers will respond to the sense of mystery and exploration in your work?
I hope viewers will take the time to ask themselves questions: What is it? Where is it? What do I see and feel? And ultimately, do I find myself in it—or not?
What inspires you the most in your creative process, and how do you stay open to new ideas and materials?
I am inspired by the surprises! While I might have a notion of what a piece will convey and how it will look, I never really know until my eyes and my soul tell me, “Yes, that’s it!” I then know that my story has been told. It’s a constant journey of discovery, which is thrilling and revealing on so many levels—visually, spiritually, and emotionally. Being open to new ideas and materials is my most important goal. When I have a new idea, I stop what I am doing and try it. I wander through home improvement and art supply stores to find new materials, making sketches and notes when something comes to mind—and yes, I do buy things that speak to me, just to try them out! When I see the work of another artist that stirs something in me, I snap a photo and store it in my "ideas" folder. It’s a thrilling and glorious process!
