Wendy Judge : Visual Artist. Her art practice is committed to armchair travel and the authentic experience; the touristic frontier and the anomalous within the landscape.
Drawings from the Kaiju series 2019 (explorations into Land Horror)
coloured pencil on paper 21 x 29.7 cms
Airmail curated by Richard Gorman , Yanagisawa Gallery Tokyo, Japan
Land Grabs 2018 (6 x images)
Land grabs 2018
Photographic Collage ,Digital manipulation All images are taken from the local within a mile radius of Lynder’s Caravan Park on the North Dublin Coast as part of an Artist residency Resort taken with the Group Difference Engine for the exhibition Resort Revelations 2018 a project conceived by Caroline Cowley (Fingal Public Arts)
The Installation images are printed on outdoor vinyl mesh 3m x 4.5m
Difference Engine 2018,
Google Earth’s aerial views reveal the earth’s scars. Missing mountains, the casualty of the coal industry, a string of muddy plateaus reveal a scalped landscape. These once mountain tops fill in the valleys as toxic rubble, smothering the natural systems below.
So now we find ourselves at the beginning of the end where we need to apply DIY solutions and bionic replacement parts to splice natures broken mechanisms together in the hopes of kickstarting the natural world to work again. The time has come to replace the mountains.
A possible structural solution to represent this environmenal gap, already known and a proven model, is the landscape replica. Here we choose a fairly high replica of Japan’s Neva Dreamland a replica of Disney’s simulacra of Switzerland’s Matterhorn of the orignal as just one example. Wendy Judge
for more Difference Engine Projects see http://differenceengineartists.org
Refabricationland I 2018, 230x150cms Black and white digitally manipulated print .
Replica of a Replica of a Replica of a Replica of the Matterhorn 2017plasticine, foam , wood, pipe
Le Rock du Zoo--ological 2017, foam concrete
I'd Like Something That Reminds me of Mountains From the East 2018, Photo manipulation, digital print on paper 230 x 150 cms
Replacement Peak For Now 2018, Photo manipulation, digital print on paper
Articulated Bionic Grips 2018, wood, metal stand pipe and hooks
Earth Working 2018, size variable, wood , contact paper , electrical tape and marker
Factory Installed 2016 at 1414 Monterey St.
Mattress Factory Museum
500 Sampsonia Way , Pittsburgh , USA
MOUNTAIN down 2016
MOUNTAIN down 2016
Wood, foam, plastaline, paint, sand, concrete glue and lighting
There was a time from the Middle Ages right up to the 17th century whenmountains were regarded as inconvenient, aesthetically repellant, and dangerous, not only to the body but also to the soul. Poets of the time described them as ‘’warts, wens, blisters, and imposthumes’’ that ruin the face of nature. It probably would have suited their thinking to have them taken down or flattened out in any way possible. Having these eyesores razed to the ground would provide unobstructed views. Such mountains are being obliterated today as overburden to coal.
Part of my work looks at the anomalous within the landscape, the blip or interruption in one’s understanding of a place. In this case my focus is of the disappearance and shifting about of land and the removal of the tops of mountains. The tops of more than 500 mountains have been removed from the 480 million year old Appalachian range. My understanding of this process comes through Stanley Heirs Park, West Virginia, and the now moribund Kayford Mountain.
Difference Engine (8 images)
Difference Engine* is an evolving touring exhibition, a model of autonomous artist curation, by artists Mark Cullen,Wendy Judge Gillian Lawler & Jessica Foley, featuring Gordon Cheung**. Taking the ‘first’ computer as a namesake, and adopting Charles Babbage’s observation that ‘Jamming is a form of error detection’ as our imaginative jumping off point, Difference Engine plays […]