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photography/digitally manipulated 16 x 24 x 1" On the surface, the digital images in Judy's Under the Big Top portfolio portray circus troupes as glamorous, athletic, and cooperative. Further thought reveals deeper truths, such as commitment to disciplined practice produces impressive results. In "En Garde!" a clown models resilience despite adversity and imperfection, a way to grow from failure and heal through self-recognition and laughter. Although a clown may be ill-prepared and quivering with fear, he still bravely shows up.
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acrylic on canvas 24 x 83 x 1.5" Dead Zone I, published in the print edition of the international literary an arts journal, Still Point Arts Quarterly XI, was inspired by media reports of agricultural and industrial runoffs occurring in deltas, estuaries, lakes, rivers and oceans worldwide. Add in climate change acidifying and warming the waters, the end results are low oxygen levels that lead to reproduction problems in sea life, reduction of the population of large fish and suffocation of marine life. There may be a light at the end of the tunnel. Scientists have stated that dead zones due to human activity are reversible if their causes are reduced or eliminated. Surely a challenge and an uphill battle.
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glazed stoneware 17 x 6 x 6" After the pandemic I was feeling protective of myself and my friends and family. I had been doing nudes for a long time, but it didn't feel appropriate anymore. I made a series of these sentinels. They are combined thrown and modeled forms. i see them as entities that will look over us and out for us. Making them made me feel better.
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acrylic 48 x 60 x 1.5" Nature, for me, is a constant source of inspiration. This pink jungle has many paths to travel. Playfully we encounter many different animals throughout this landscape, even a dog with green dancing shoes! Being in nature reminds me of the paradox of our own complexity and our own smallness. Our feeling both small and vast in the natural world leads to stillness. In the stillness, we become aware of our inner light. This is the light of our true nature and our sacred heart. May all beings cultivate joy along this path to true enlightenment.
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acrylic on canvas 24 x 36 x 2" Kane's work always begins with line(s) of many types. Lines build upon lines to create a sense of volume and depth. Sometimes the result is recognizable visually. Sometimes, as in "Mixed Lineage", the visual result may not be immediately recognizable as a thing. Your perception of this image is your own. I hope you enjoy this piece and smile.
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photography 27 x 18" By manipulating light sources, imagery, and time, I create a sense of time travel in each frame. Through the use of vintage source material juxtaposed with modern LED lights, I create a striking tension between old and new. My work is centered around experimentation and the unexpected. The in-camera collage of the moon goddess Selene and her chariot, for example, came to life only after the 30 second exposure was complete and I played back the frame. This approach to photography allows me to push the boundaries of what's possible, creating images that are as surprising as they are beautiful and evoking a sense of wonder while transporting the viewer to another time and place.
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mixed media oil painting 42 x 28 x 2" My work in general hints at what is behind the eyes, the flesh and what we recognize as being human. Our bodies are bound by the laws of nature but our souls are not. Moon Garden draws us into the natural world to be lit up by the light of the moon, surrounded by flowers that bloom at night while becoming an intimate part of nature herself.
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painting 72 x 72"
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oil on panel 36 x 18 x 1" The Edge - Ukraine is a metaphor for strength in the face of overwhelming adversity.
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pastel 20 x 16 x 1"
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acrylics 30 x 30 x 1.5" I began this work as a non objective abstract painting. However, once I dipped my paintbrush into green it became a flowing garden, Perhaps it was the Chopin or the spring day.
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acrylic, airbrush, alcohol ink, oil pastel 40 x 48 x 1.5" Our world sometimes seems to be buffeted by forces beyond our grasp or comprehension. This diptych is informed by the "weather" of culture, politics, religion, differing ideologies. Much like a meteorologist might follow radar maps to stay informed on what's coming, sometimes the "weather" can still take us by surprise. Will it be sunny and predictable? Will it be turbulent and stormy? Looking at daily life through this filter, allows me some solace in letting go of things over which I have no control (like the real weather).
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watercolor on paper mounted on board 60 x 40 x 1" "The Nurturers" is expressing many women's proclivity towards caring for others throughout their lives. Even when women have aging parents &/or adult children, many of us tend to have a penchant to provide support & caregiving to those in need.
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mixed media 48 x 36" My challenge is to see beyond my observations and to tap into the potency I observe. I use bold abstract shapes and patterns, expressive loose marks and dramatic vibrant color to create decisive, intense images.
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collage; newsprint, dyed papers, recycled plastics and sashiko stitching with a vintage wood clotheshanger 36 x 17 x 3" "OMG” is a part of a series called "Woman is Boss", that makes art from the past, present. Japanese women from vintage newspapers and a 1937 travel book are shown in more submissive roles compared to women as they are viewed now. The name is derived from the facial expression of the large standing female figure on the left side viewing the female images around her. Inspiration came from repurposing a plastic commercial swimsuit hanger. This series of artworks utilizes recycled plastics, dyed papers as well as ancient newspapers, antique buttons and Sashiko stitching to create art using the female torso hanger shape.
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mixed media including thread, various papers, linen, gold leaf, paint, pencils & pens 56 x 48" Petroglyphs, architecture, graffiti, scrolls, codices – examples of our collective human urge to leave an imprint, tell a story, mark our time. These relics are a historical record with a tenacious existence. Think the caves of Lascaux, the Dead Sea Scrolls, and the tagged surfaces of train cars. My work speaks to this human urge for mark leaving, referring to an enduring historical record while simultaneously becoming a part of it. Drawing on ideas of the intersection between written language and spirituality, this piece is constructed, deconstructed and reassembled into an intimate and ephemeral account of our shared history, our difficult present and our uncertain future.
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acrylic paint 48 x 30 x 1.5" There are moments when the majesty of gigantic trees reflected in the water causes me to stop in my tracks, taking in the beauty and the stillness. In an almost magical flow, this painting emerged from my memories of such moments.
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watercolor on Yupo 20 x 19" Recently I have been working on Yupo paper with my watercolors. This piece is a still life from my flower garden. I like the fluid effects that happen on the yupo substrate and the challenge to control the direction of the painting. It can be abstract in feel but still very realistic to the viewer.
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mixed media on Arches paper 30 x 22" Every Tuesday I spend time with a friend with Vascular Dementia. Just before her diagnosis she asked me to teach her to draw. Immediately, in spite of no experience at all, it was clear that she had outstanding talent. Her illness has robbed her of this gift and the opportunity of certain NAWA membership. How she would have loved this sisterhood and its sharing of ideas, joy, respect, and strength. This piece shows her feeling of disappearing, but mostly it is about our shared sorrow.
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painting 24 x 36 x 2" My painting "Kindred Spirits" bridges the gap between animals and humans. In my painting, Mwenda, a keeper in Kenya, says good-bye to his magnificent friend, Sudan, the last Northern White male Rhino. They are kindred spirits who blend together, just like their colors blend. Their curved forms are shared, heavy with a shared grief and unspoken love and respect. Together they form "Kindred Spirits" teaching Humanity lessons of extinction and lessons of Love with Sudan's last breath.
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diptyque acrylic painting on canvas with 3D elements 24 x 40 x 2" My mixed media work is about the memory and feeling of joy. During recent health challenges (a mastectomy, chemo and radiation), I waited for 33 days for my oncology radiation treatments in a beige space without windows or artwork. After recovering, I received some paintings from a show in Connecticut. I offered to hang my pieces in the radiation oncology space. Most of my work is large and tropical in theme (we lived in Hawaii for many years), but it also includes pieces inspired from our world travels. I have received many letters, emails and comments from patients and staff alike as to how much better they feel in the space. It is a testament to the power of art and of giving back.
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acrylic & pastel on wood 48 x 48 x 2" In summer 2022, I was invited to my neighbor’s house at midnight to watch the blooming of their Queen of the Night flower (also known the Dutchman’s pipe cactus). It blooms only once a year in the darkness of the night and withers in the morning. It was such a profound lesson to me that nature allows such magnificence to occur in darkness. Applying this lesson to my own life, I was encouraged in my personal health challenges. Even in the hardships and darkness, I should continue fighting because beauty flourishes even in the most adverse of circumstances.
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oil 30 x 40 x 1.5" A saturated memory of Europe.
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mixed media collage 12 x 12 x 2"
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acrylic on canvas 32 x 28 x 2" In my latest series of work, Translucencies, I apply many thin layers of acrylic paint over a vibrant underpainting to give the feeling that light is filtering through the colors. The looseness of the brushwork and geometric shapes adds to the effect of what I am trying to achieve.
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acrylic on canvas 30 x 60 x 1.3" A recent work in a series prompted by the strains evident in the built environment of Havana, Cuba. Viewers are asked to extrapolate their reactions to this painting to the sentiments of modern life.
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watercolor & gouache 24 x 40 x 2" As winter fades and the season changes to spring in the tristate area of NJ, NY and PA the earth renews itself. It is like a resurrection of sorts that becomes apparent gradually. Spirits run high as the days get longer and the sun shines brighter. My work reflects the joy I feel during spring resurrection. My painting was created with watercolor and gouache on 140lb cold press paper and then mounted onto cradleboard with heavy gel medium. It is preserved with gallery series, Acid-free, UV protected, non-yellowing, matt spray varnish that also repels dirt and moisture.
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mixed media/sculpture 13 x 15.5 x 7.75" "The Sheilas" is a kinetic piece with original printmaking, self-portrait, found objects, and mirror (yes, one needs a little smoke or mirrors to do this work of spying and deception). The invisible women who helped spy during wartime and the Cold War could go unnoticed because who would look at a woman past her "prime"?! Lift the latch attached to the little red book at the top of the cabinet and reveal the "Universal Aunts" who can "Solve Your Problems", In doing so, that motion lifts an envelope that hides the younger distracting woman in the black and white photo and reveals the faces of the older women who are doing the important work of saving the free world.
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oil 22 x 30 x 1" A friend was travelling in Iceland and took a photo of this dawn, while taking a trip to see the waterfalls at Selfoss and Dettifoss. I named it for the falls that sound more like 'Self Loss' because the absorption into this sky is a way to lose yourself. The following words were written for and are painted into it: The Road to Selfoss, the dawn to openness, the sky to everything.
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original collage (Primal Parts) printed on canvas with acrylic paint and marker, modeling paste, coarse pumice gel, glass bead gel diptych - each canvas is 48 x 40 x 1.5" Primal Parts II is a canvas print of my collage Primal Parts inspired by the work of Frida Kahlo. I used strong colors, female figues and elements of nature to denote women's strengths. Primal Parts II is texturized and accented with acrylic paint and markers as well as various mediums to create texture on the piece. The piece evolved into a diptych due to a printing error which created a reverse image.. The diptych further strengthens the piece.
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fiberglass, varnish, pigments 36 x 84" Environmental awareness and protecting our natural resources are crucial if we are to survive. As a culture we are too busy to notice the delicacy of this complete system of life. Through my work as an artist, I see the opportunities to highlight these subtle spaces that balance and support our natural environment. It is crucial that we attend to the beauty, tranquility, and serenity in order to return to the center of balance. When we take care of our planet we impact ourselves positively.
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oil 24 x 24 x 1" This work was inspired by watching an artist construct a large scale urban artwork. All creatives will recognize this moment- approaching the empty page, the lump of clay or the white wall; all problems and all solutions are available if we take that leap of faith and...begin!
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oil on canvas 22 x 32"
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acrylic 18 x 24 x 1.75" Convergence is the culmination of many hours of blending directly on the canvas. My process begins by selecting a color scheme and limiting myself to using only those colors plus neutrals. I work intuitively, applying paint then stepping back to analyze until I see no further changes to be made. The complementary colors in Convergence seemed to flow in a pattern which reminded me of rivers merging together in a confluence.
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acrylic 26 x 20 x 1.5" Three Sheets is an expression of how one hides behind a thin veil of imagined reality. It explores the impermanence of masking one's life artificially with intoxication. It has been said that an overstimulated being is Three Sheets to the wind, in essence, out of control. There are many ways one can be intoxicated. It could be love, emotional distress, fatigue, or just inebriation from consumption. As they say, what's your poison?
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Sculpture 15 x 8 x 4 in.
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Oil 14 x 11 in. The series that includes “Perfect Light” examines the nature of adolescence as a transitional state, delving into the often mysterious spaces within relationships. These are not simply figure paintings. While the paint surface is luminous and detailed, opacity also comes into play. What is more opaque than adolescence? We look deeply into these images full of secrecy, vulnerability and defiance, see their awkwardness - and revisit our own memories filtered through the lens of adolescence.
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Pastel 15 x 9 in. My series of “Colorful Living” portrays the portrait along with the patterns of color, shapes and texture.I enjoy the challenge of making the figure as important as the patterns surrounding them.
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Digital 12 x 15 in. In my freehand, digital painting, Home Sweet Home, we see a young woman living in her car with all her worldly possessions. Her left eye is heavily bruised and almost swollen shut. Whether this is from an accident or someone hitting her is unknown. Homelessness is a pressing problem in America. Homeless women are particularly vulnerable. It is estimated that a large percentage of families are only one missed paycheck from becoming homeless. People living in their cars are one of the fastest growing homeless populations.
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Assemblage 5 x 6 in. Several years ago I began taking apart computers and other electronics, using the materials to build models and wall hangings. I enjoy taking them apart as much as putting the pieces together into something else entirely. I begin by building a structure from motherboards and other large objects from the electronics. I then enhance them with bits and pieces of old jewelry, metal and plastic, and other precious “junk”. The result, I hope, is a piece that stimulates the imagination and takes viewers somewhere new and wonderful.
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Pastel 14 x 13 in. 'At the Met' is a representational depiction in pastel of a group of young adults taking a break from viewing the masterpieces surrounding them. I was particularly struck by the beauty of the far right girl's red hair and how it contrasted with the cool hues of her surroundings - in addition, the dynamics of the four youths resting on the bench seemed to encapsulate an iconic tourist experience AT the MET and motivated me to want to paint this scene.
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Photography 9 x 12 in. I took this photo of a dilapidated old barn next to an almond orchard on a ranch south of Chico. I was fascinated by all the clutter and if it had been safe, would have explored inside. My photo has been described as "an image that pays tribute to what remains of the past and a nostalgia for a world that no longer exists."
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Colored pencil 11 x 14 in. I have always been fascinated with texture. What a pleasurable challenge to create impressions of the different types of leather: rough, smooth and in-between… all while playing with light! The small bag was made by a good friend; the tiny strap-pouch and leather jerkin were made by my husband. Both men were superb craftsmen, and I wanted to replicate their fine work in this piece. It’s a way of showing just what is possible with pencil.
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Assemblage 10 x 8 in.
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Mixed Media 12 x 12 in. My art reflects and represents current events in performing arts and politics. People in the news inspire me, their movement, their expression, their passion for change. There is an emotional part of me in every painting. I am currently represented by Saphira & Ventura Gallery. Most recently, my painting "Doja Cat" was part of the Empower Her Art Forum, a multinational exhibition dedicated to raising women’s voices and the empowering ethos of art, at The National Museum of Egyptian Civilization in Cairo, Egypt.
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Mixed Media 12 x 12 in. The woodblock print Just off of Salem Street was inspired by a walk on a fall day at the North End. I love to walk around, gazing at buildings from different angles, and noticing their shapes and textures. On this cloudless afternoon, I photographed Boston’s architectural homes. The apartment buildings were detailed, climbing with long vines and beautiful windows. When I returned to the studio, I sketched, the inspiration falling from my mind to the paper. I transferred the sketch to a woodblock and began to carve the wood. Once the carving was completed, I inked the woodblock and ran it through the press repeatedly until the artwork was finished.
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Acrylic 12 x 12 in. “Somewhere” was painted in my intuitive and expressive painting style. It is an exploration in color, texture, layering and abstract mark making. The painting is on a 12x12” wood panel, framed in a white frame. My goal is to help you see as much beauty in the world as I do, so everyone who comes in contact with my art feels just a little bit more alive - whether that's because of the vibrant, saturated colors, expressive movement, or because you can feel the emotion and energy embedded in my art.
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Archival watercolor pigments on archival watercolor paper 6.25 x 4 in. Descending Darkness is a small watercolor created right after Russia invaded Ukraine. It was and is my reaction to this tragic and unnecessary situation for the people of Ukraine and consequently the stability of the entire world. Most of the time my work does not reflect world events, but this war was started for invented reasons, which really evoked a physical response in me that worked its way into my painting.
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Oil 14 x 12 in.
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