Rising Stars: Meet Dana Lieberman of Atlanta

Today we’d like to introduce you to Dana Lieberman.

Hi Dana, we’d love for you to start by introducing yourself.
My path to becoming an abstract artist has taken a few turns. I studied photography in college, and while studying abroad in England and traveling through Europe, I found myself becoming more and more interested in painting, drawing, and art history. Later, I lived in Santa Fe, where being surrounded by such a strong visual culture—and that extraordinary landscape—had a lasting impact on me.

Eventually I returned home to Atlanta, where I raised my family and began painting commissioned oil portraits. I did that for a number of years, but gradually I became less interested in creating an exact likeness and more interested in what could happen when I loosened things up. That curiosity eventually led me to abstraction, and it felt like I had found my way to a whole new experience.

Since then, my work has continued to evolve. I love experimenting with different materials and allowing a painting to change direction as I’m working on it. Nature and the places I spend time continue to influence me, and lately I’ve been especially interested in bringing elements of the South into the work.

What started as a very personal creative practice has grown into a career that has brought commissions, exhibitions, collectors, and some wonderful connections with people I never would have met otherwise. But I still approach the studio with a sense of curiosity. I’m always wondering what happens if I try something new, and I think that’s what keeps the work exciting for me.

I’m sure it wasn’t obstacle-free, but would you say the journey has been fairly smooth so far?
I’m not sure I would describe my path as having a lot of obstacles, and that’s one of the beautiful things about art for me. There is always somewhere new to go and something new to learn.

There was definitely a learning curve when I moved from painting realistic portraits in oil to working abstractly in acrylic. It required me to let go of a lot of what I knew and become comfortable with a completely different process. In some ways, painting abstractly requires more trust—there isn’t necessarily a roadmap or a clear point when you know you’ve gotten it “right.”

I also think there is an inherent vulnerability in making art. Whether I’m working on a commission for someone or creating a piece entirely on my own, I’m putting something personal out into the world.

One thing I still wrestle with is the balance between painting what feels exciting and authentic to me and thinking about what might sell. I’m learning that my best work usually happens when I can quiet that second voice and follow my own instincts. And, of course, that’s easier said than done.

Thanks – so what else should our readers know about your work and what you’re currently focused on?
I specialize in abstract acrylic and mixed-media painting, often incorporating found or unexpected materials into my work. I create commissioned pieces as well as my own original work.

What sets my work apart, I think, is the palpable energy within the layers and the way movement carries you through a painting. I’m very drawn to bringing to light things that might otherwise go unseen or overlooked. My work can have depth and energy while also conveying a sense of calm and peace. And then there’s another side of me that loves humor, wordplay and a little irreverence, which often shows up in the work or in my titles.

I’m proud of the focus and discipline I bring to painting, but I’m equally proud of my ability to let go and trust my intuition. Sometimes I become so absorbed in the process that it feels almost meditative—almost as though I’m watching my hands create and allowing the painting to tell me where it wants to go. There is a familiarity there because I’m a yoga and meditation instructor.

I’m also proud of how much I’ve evolved as an artist. I came from a very different, more representational style of painting, and I’ve allowed myself to move into an entirely different way of working. I love that one piece can look completely different from the next and yet still feel connected by my hand and my point of view.

Can you talk to us about how you think about risk?
I think risk-taking is an important part of being an artist. For me, it’s less about taking one enormous leap and more about being willing to continually step outside of what feels comfortable or familiar. Moving from more realistic work into abstraction was certainly a risk. I had to let go of knowing exactly where a painting was headed and learn to trust my instincts and the process itself.

That willingness to take risks continues in my work now. Sometimes it means painting over a section I love, introducing an unexpected material, or following an idea without knowing whether it will work. There’s vulnerability in that, but I’ve found that some of the most interesting moments happen when I’m willing to loosen my grip on the outcome.

Contact Info:

• Website: https://www.danaliebermanfineart.com
• Instagram: danalieberman_fineart
• Facebook: Dana Lieberman Fine Art