In the current series of works, Maiberg brings together the objects of her paintings of the last ten years. Her paintings examine the boundaries between truth and illusion, portraits and landscapes, the internal and external, dreams and reality, the signifier and the signified.

For Maiberg, longings are processed into something lost in Tel-Aviv, lost in time. The process travels and takes place in the gap between photography and painting. The landscape and the figures come from the family photo-album, or are taken in the present by Maiberg herself. This is realist painting reacting to life in a direct and personal manner. Thematically, Maiberg corresponds with one of the fascinating directions in contemporary discourse preoccupied with images of reality: the connection between photography and painting, in the space between life and art where everyday activity turns into an act of art.

Time is frozen in photography and painting, very present yet longs for something different, different days. The aim of painting as raw material is to put together “facts,” “memories,” and “moments;” to confront situations and places and bring them to the surface, to consciousness. This is where past and present dissolve into one another: Orly Maiberg with her father on the beach; Maiberg’s children on the beach; Tel-Aviv of the past; Tel-Aviv of the present. If in earlier works her figures were anonymous, without identity, then in the current series of works the figures receive a concrete characterization, personal and familial.

Orly Maiberg has developed in the last decade a unique and independent outlook on nature and urban nature. This outlook is distinct, uncompromising. Her estuarine landscapes are one of the most impressive achievements of the young painting in Israel. She is a graduate of the School of Visual Arts, New York. Her works have been presented in museums, galleries and art-fairs in Israel, the US and Europe.

A bedroom as a representative of the most intimate part of “a home”.

A good browse at one’s home is a legitimate act, but looking into one’s bedroom will consider peeping.
Peeing involves an act of a stolen glance, as of invading private territory, an intimate territory with oneself and with the other.

Territory in which one finds oneself between sleep and awakens, between conscious and unconscious, dearmworld and realty.
In this series of bedroom paintings, exposure and disguise play almost an equal role. As light falls, it reveals not necessarily our glamour’s moments but captures those who are banal, taken out of the erotic context.As if were scenes out of a movie they might end on the editor’s floor.

The relationship of the viewer – painter is ambivalent.  At times the viewer like the painter immersed in the scene neglected of the peeping standpoint. It’s a relationship of a close intimacy.  At other times, it can be of distance and alienation. We are always reminded of this dual relationship of temptation and rejection.