| WORKS ON PAPER |
MARY JUDGE |
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This page
contains drawings on paper made with a perforated stencil laid on rag paper
and pounced with a sack of powdered pigment: pigment passes through the holes
and leaving marks or dots that create an overall image. The version of this
technique which I have
developed, derives from the "spolvero" (meaning dust) and was used by
Renaissance artists to transfer drawings to the wall for fresco
painting. The stencils are made by tracing a single symmetrical
form many times or in the case of the Concentric Series, I work from
the center out, being open to variations that happen along the way.
Random effects are an important aspect of the finished piece. I work
in series, meaning that I develop a form and continue to mine its
variations until it's exhausted.
Archival notes:
The following works are all executed with powdered pigment in earth tones on
Somerset 100% rag printing paper, rough and fixed with matt fixative.
They are signed, dated and marked for orientation on recto. |
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Spiral Form Series [ SLIDESHOW ]
These, the largest of my single sheet drawings, are based
on a sort of 3-dimensional spiral form, created when the single traced
element rotates around two points at opposite ends and meeting
in the center. Size of works: 40x54" |
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Exotic Hex Series [ SLIDESHOW ]
These were inspired by Pennsylvania Dutch hex signs.
Here a single design form is rotated around the center point of a circle.
Size of works: 36x36" |
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Cast Paper Series
[ SLIDESHOW ] |
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I made these pieces in collaboration with Paul Wong,
artistic director of Dieu Donne Papermill in NY after being awarded an
Artist Workshop Grant that unfolded over a 15 month period. After some
experimentation I came up with this process: I took sheets of Denril,
a plastic-like semi-transparent architectural paper, "drew" on them
with silicon chalk following the lines of a pre-existing spolvero
drawing placed underneath as a guide. The silicon created rough lines
in bas relief about 1/4" in height when dry. At the mill, I took these
"stencils" and sprinkled them loosely with powered pigments including
metallics, stainless steel filings, aluminum filings, powdered graphite
and peat moss. The powdered stencils were then placed face down, on the
freshly made water sodden paper and put into the press. After being
pressed to release excess water, the stencils were peeled back to
reveal the finished work. Many random effects resulted: because of
the water and powder resisting each other fractal patterns formed or
air bubbles trapped under the Denril formed "holes". I reused the
stencils to create a series of works though each is completely unique.
 Catalogue available
www.dieudonne.org |
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Process at Dieu Donne Papermill [ SLIDESHOW ] |
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