JENNY JUDGE
Canadian/New Zealand artist creating installations using craft-based processes that incorporate 3D prints, mould making, glass, ceramics, plaster, fibre, writing, film…
“To cast an object is to create a memory of an object.”
My current work focuses on memory, ageing, and time passing. I cast Glass and plaster elements from sewing paraphernalia and incorporate them onto strings that I slowly cover in paint. Sometimes colourful, sometimes white or clear, they disappear into their surroundings much like forgotten memories.
Filmed by Janalee Budge @Janaleecreative
RECENT
“Phase Transition” 2023 is featured in New Glass Review 44, 2024.
New Glass Review is an annual exhibition-in-print featuring 100 of the most timely, innovative projects in glass produced during the year. It is curated from an open call for submissions by the curator of postwar + contemporary glass at the Corning Museum of Glass and a changing panel of guest curators.
“ From Sand to Sea” 2024
Featured in the Lupine Review, Launch October 18, 2024. Whistler Public Library during the Whistler Writers Festival
Drawings will be exhibited in a 3-person exhibition, The Ferry Building Gallery, West Vancouver, in October 2025.
Studio Magazine
Vol. 19, No. 1 Spring/summer 2024
In “Ordered Experimentation”,
Fae Logie explores beauty, grief, and memory in the crafted installation “Phase Transition” by Jenny Judge.
Essay “Transitions”
published in Sharp Notions: Essays from the Stitching Life. Editors Marita Dachsel and Nancy Lee. Arsenal Pulp Press. October 10, 2023.
order: Arsenal Pulp Press
CURRENT PROJECTS
Phase Transition
“Phase Transition” is a full-room installation, a solo exhibition initially shown at The Craft Council of BC in the Fall of 2023.
It is a reaction to watching a drip of paint harden as it works its way down a piece of string. The paint covers objects as it travels down, envelops, alters, and encapsulates them. The drips shift with each layer, change, and eventually coagulate in place, capturing time and preserving memories. Objects can trigger memories and a feeling of familiarity, and in the case of my mother’s sewing paraphernalia, that of time spent in her sewing room, domesticity, place, and home.
MY MOTHER’S BUTTONS COLLECTION
"I remember sitting on the floor organizing my mother's button collection while she sewed and I am sure she did this to keep me occupied.”
This work emphasizes both the power and fragility of memory as each collected button is sewn onto thin-walled paper-clay forms. The holes and gaps are like thoughts that have lapsed and I use gold lustre to emphasize this poetics of loss. These forms appear and disappear against the white wall, pinned delicately to float above their cast shadows while the viewer immerses themselves into the fragile tones of time passing, memory, childhood, and domesticity.
Work exhibited in the Korean International Ceramics Biennale, Gyeonggi Museum of Contemporary Ceramic Art, South Korea October 1, 2021-January 15, 2022