Page 56

She roamed the streets in search of wall cracks and graffiti, because vandalism may lead to masterpieces when viewed through an unconventional lens


slightly different and unique. Once the acrylics are dry and able to provide the background, Judith proceeds with the main picture which usually features abstract lines, or a painstaking pointillist technique, and the vigorous use of bright splashes of colour, to build up virtual layers and give the illusion of an old pile of peeled-off posters. She is, in fact, very proud of her sense of colour, firstly scouted and praised by her art teacher and one of the late 20th Century’s best abstract artists, the late Sir Robin Philipson. She marries well her innate sense of colour with her formation as a tapestry weaver and textile printmaker, and always manages to whisk up harmony of form and colour in her work, whether with the muted hues and small grain of gabardine and tweed, or the vibrant explosion of tropical vegetation inspired by silken saris. “Through a lengthy and often slow process the artist explores the idea of how natural and man-made surfaces overlap and inspire works which often reproduces decorative chaos,” says her biography published in the Saatchi Online. Judith often works from photographs, but she doesn’t reproduce them faithfully on canvas, because showing off how perfectly she can draw isn’t the point of her work. She uses them as a memo for expanding into something completely different, like her series of Stains that originated the day she spotted an amazing splodge on the ancient walls of a Portuguese castle. Whether it was some ectoplasmic sap or age-old dirt, it set her cogs in motion and inspired several works. She usually shuns portraits or human forms, with the notable exception of a series titled Untitled, featuring half a face vaguely reminiscent of a James Bond movie poster, ripping through very diverse wallpaper-like layers, from monochrome pop-art to Victorian-feel florals or some cyberpunk neon flashes. Her residence in Venice, where she staged her 2011 exhibition at Scoletta di San Giovanni Battista, Campo della Bragora, made her roam the streets in search of wall cracks and graffiti, because vandalism may lead to masterpieces when viewed through an unconventional lens. So the Venetian series was born, but don’t expect to find cliché gondolas and canals in it: they are eccentric exercises that have nothing in common with La Serenissima but her largerthan-life flamboyance. Judith’s major work stretches across sizeable canvases and fetches prices in the region of a handful of hundreds, but anyone can be the proud owner of her numbered prints for a fraction of it, or perhaps commission her for a pet portrait. That’s right, Judith is a dog person and besides travelling everywhere with her Spanish water dog Fleur, she likes to capture her friends’ four-pawed friends on paper, in a slightly different style from her mainstream work. She is also involved with stray dog charities and often donates proceedings from her sideline activity. On another side of Judith’s works sit her acrylic sketches of grinning skeletons riding turquoise waves like locks and curls borrowed from Pinocchio’s Fairy, worthy of a line of ca-


The Gibraltar Magazine - May 2013  
The Gibraltar Magazine - May 2013  

Gibraltar's fabulous business and leisure magazine. Crammed full of great features from finance to football, from fashion to arts. Enjoy i...