Born in Ann Arbor, MI, Deb Lawrence has been an artist since the beginning. As a child, she painted with oil paints, built pots on a potter’s wheel, etched on metal with acid, silk screened, carved linoleum blocks, learned to weave on large looms, and even tried her hand at marble sculpting. After receiving her Bachelor of Arts from the University of Michigan and her Doctorate from Case Western Reserve University, she was mentored in studio art by Gerald Vandevier, professor emeritus at the Cleveland Institute of Art. She went on to exhibit her work throughout the US, including at solo shows and galleries from New York City to Atlanta and Cleveland. These days, she calls Hudson’s Warren Street home, and is part of a group exhibit there that’s running through the end of the month. Need plans this holiday weekend? Check out the “Sneak Peek” Pop-Up Art Gallery at Hudson Open Studios (253 1/2 Warren Street) on Saturday or Sunday from noon-5pm.
Here, CRL‘s Nicole Ianniello catches up with the artist to chat about her process, influences, and love of Hudson:
NI: How has your painting process evolved over time? Are there particular rituals, materials, or moods that ground your practice?
DL: My painting process has always been rooted in a very visual, sensory way of experiencing the world. I’m constantly captivated by small details that most people might overlook—worn textures, odd shapes, unexpected color pairings. These are the things that stop me in my tracks and later surface in my work.
As far as daily rituals, I’m a creature of habit. I start my mornings with strong coffee brewed in my Bialetti, paired with seeded olive bread from Mel’s Bakery slathered in French flake salt butter. Then it’s into my studio for long painting sessions where I often lose track of time completely. When I need a reset, I walk up and down Warren Street, popping into antique shops and galleries. That rhythm of intense focus punctuated by wandering curiosity grounds me.
I work primarily on antique linen sheets—chosen for their nubby textures, mended repairs, and uneven edges. I love materials that already carry a story. Much of my work builds up through layers of oil paint that highlight and honor what I call “the beauty of blemishes.”
NI: How did you develop your visual language—did you pursue formal study, or was your path more intuitive and personal?
DL: I didn’t take a traditional route. My early years were filled with artistic play—drawing patterns in sandboxes, experimenting with oil paints, etching, silk screening, even marble sculpting. But I never considered art school. Instead, I pursued a PhD in child clinical psychology, and art remained this parallel passion I kept returning to in every spare moment.
Eventually, I began painting full-time and was fortunate to study under Gerry Vandevier, a Professor Emeritus from the Cleveland Institute of Art. He became my mentor and essentially “homeschooled” me in studio art, standing at the front of my studio and lecturing as if I were his entire class.
NI: Were there any early influences—artists, environments, or mentors—that shaped your perspective?
DL: I grew up in Ann Arbor, Michigan, in the 60s and 70s—a time and place steeped in creativity and design. Our house was full of Knoll furniture, Marimekko wallpaper, bold colors, and art everywhere—from kid doodles to string art masterpieces my dad made. Both of my parents were academics, but also deeply into the arts. We traveled a lot formy dad’s conferences, and I was dragged through countless museums and galleries, often reluctantly—but those experiences definitely left an imprint.
That exposure to art and design, along with the freedom to explore different mediums as a child, shaped my aesthetic. My parents’ eclectic tastes and creative openness gave me permission to experiment and find my own voice.
NI: How has living in Hudson informed or inspired your most recent work? Have you noticed a shift in your palette, themes, or creative rhythm?
DL: Absolutely. Hudson has this magnetic, artsy, slightly Parisian feel—it’s cultured, smart, and design-forward, but also grounded and community-driven. When I moved from a 1745 farmhouse in Pennsylvania to my current light-filled loft on Warren Street, I knew instantly I had found my place.
The space itself—two stories with soaring ceilings and giant windows—has been such a gift. I use the upper level as my home and the lower level as my studio. The natural light and creative energy here have deeply impacted my work. While my visual language still feels very “me,” there’s definitely a more contemporary, urban edge to it now.
I’ve also opened my studio to the public during events like Upstate Art Weekend, and it’s led to meaningful interactions with curators, collectors, and fellow artists. That sense of connection and belonging has inspired me in ways I didn’t anticipate. I’m excited to see how my work continues to evolve in this environment.
NI: Any final thoughts about your journey as an artist and what’s next?
DL: Honestly, I feel like I’ve just landed where I’m supposed to be. This loft—a sanctuary filled with art and oddities I’ve collected over the years—reflects who I am. It’s on Warren Street, right across from Carrie Haddad Gallery. I’m surrounded by new friends, immersed in a vibrant community, and waking up every day inspired to paint. What more could an artist ask for? DM me below for a studio visit!
Follow along:
@nicolemarienyc
@deblawrenceart
