Touchable Textile Art: When was the last time you wanted to reach out and touch a painting or photograph? Did you have an urge to run your hand over the artwork and feel the texture? With textile artwork, much like sculpture and woodcarvings, this is one of the first reactions clients have to my artwork. They want to feel the texture of the hand stitching, feel the fabric, get closer to the piece. Viewers are naturally drawn into textile art and it is a great addition to any fine art collection whether the focus is contemporary, abstract, graphic or conceptual art.
My web site (www.jeanjudd.com) is a continually changing "work-in-progress" itself, focusing on my own textile artwork, commonly referred to as "hand stitched paintings" by many viewers. It is updated at least weekly with new exhibition information, new artwork, completed commissions, and new hand dyed fabrics. Be sure to check back often to see what is happening.
The image shown above is a detail shot of Sound Waves #3: Ionosphere completed on October 21, 2016. A complete write up about this artwork, as well as several other new pieces, can be seen in the Abstract Seriessection under Textile Gallery on the menu bar to the left. As a textile artist, new and exciting experiments are always in progress. Be sure to check back often for updates on what is happening in my art quilt studio.
"I don't create art for "everyone's" collection, I create textile art for the RIGHT collection. Take time to look at all of the examples shown here on this site. There just might be something here that is for YOUR collection and your collection alone." --Jean M. Judd, Textile Artist and Author
Several Book projects are also being completed each year with "An Artist's Journey" series' first book released November of 2012. Book 2 of the series was released April of 2013. Book 3 was released in October of 2014 with Book 4 scheduled for release in late 2017
A book about my 2013 artist residency in Canada, Quetico: An Artist's Experience is now available worldwide online at Amazon.com and brick and mortar book stores as of September 30, 2013. This is the first in what will be an ongoing series based on further trips to this amazing wilderness area.
The artwork, Quetico: New Day...Day's End, created after the residency, can be seen on the Textile Commissions page.
**As of April 2016 these titles are also available at The Phipps Center for the Arts Gift Gallery in Hudson, Wisconsin.
For information about personal book projects, visit the Personal Projects section of the website.
Color Palette Inspiration: I am asked quite often by art collectors and gallery personnel where my inspiration comes from when I am choosing colors for my textile artworks. I hadn't really thought much about where these choices came from as they happen intuitively as I am developing the work. Sometimes it is a specific piece of hand dyed or dye painted fabric that I have created myself in the dye studio.
In reflecting on this more, it often comes from my every day experience too. Each morning I am blessed with the opportunity to witness the rising of the sun over the lake and trees out my studio window. Each evening I spend several minutes watching the sun set over the rolling hills and forest from our back deck. We are very lucky to have unobstructed views of these glorious works of art each day created by nature.
The evolving and changing colors of these daily happenings just become the starting point in many of my artworks. In looking at the Contaminated Water series which is focused on blues, it is evident that this comes from the local lakes and rivers that I visit frequently as well as from numerous trips to the Boundary Waters and Quetico wilderness areas.
"Look outside the frame!" Not all art has to be contained within a heavy wood or metal frame, shielded by glass and protected from dirt, dust, or from being touched. My textile artwork is free of these more traditional trappings. It is hung directly on the wall and it can be touched. Most of my work is designed to be moved, rotated from horizontal to vertical, and combined with another piece for a unique display.
Not all art is easy to understand like a landscape, a street scene, or a still life painting of a bowl of fruit or vase of flowers. Some art the viewer has to look at again, and again and yet again. It very well may need more than a two or three second glance. It has to be experienced and sometimes the viewer has to contribute to the artwork too, mentally adding their own personal experience to what they are seeing before them.
What is your frame of mind at this moment as you are looking at the art? Are you frazzled from a long day at work? Are you angry at the guy who cut you off in traffic and almost caused an accident? Were you expecting something other than you are seeing right now? Look deeper, look at a different angle, quit trying to understand a particular piece of art and just sit quietly with it and see what the art has to show you or tell you about itself.
To the left is an example of displaying two of the Contaminated Water series artworks together in a vertical orientation. Farthest to the left is Contaminated Water #1 and to the right of it is Contaminated Water #2: Pond Scum.
Adding Contaminated Water #3: Sludge to the display on the other side of Contaminated Water #1 would make a very dynamic piece that can also be rotated into a horizontal position. The natural curves of #2 and #3 give it an organic feel.
Titling Artwork: Putting a name to a piece of completed artwork can be the most difficult part of the entire creation process for me. I may start with a title when I am first designing and selecting fabrics for the piece. As the artwork changes and morphs into the final composition, the title may no longer fit or my subconscious will have come up with a different title.
Some days I wonder if I would be better off renaming all of my work to "What Ever You Want it to Be #1" etc. Many times when I am at gallery receptions and I am talking to collectors, they come up with such different things that they see when viewing my art and the titles that they suggest give the work special meaning to them. There are others who look at the titles, look at the artwork, shrug their shoulders and move on.
In my opinion, titles are so the artist can differentiate one of their artworks from another. When we create hundreds of pieces over a lifetime, they tend to blur together, but the titles help us to build a mental connection with the piece. It makes it easier for galleries to select work by title as well.
Since my work is primarily classified as abstraction, I think that sometimes putting a title to it limits the piece in some way. The title can be too suggestive and narrow which then limits its appeal to collectors. In reality I want the viewer of the work to spend time with the artwork, look at it closely as well as from a distance. I want them to engage with the work and put their own life experience onto it.
Because abstraction work doesn't depict a specific place or time, but more of a concept: a mixture of colors, textures, and shadowy images, the brain now has the wonderful opportunity to create a different artwork every time the work is seen. This makes the work exciting and different each time. That is also why most of my work is designed to be displayed in several different orientations so that it physically changes from time to time as well.
Studio: My studio is focused on creating textile artworks in the art quilt genre that has been recognized by fine art curators across the United States as works of fine art. Each piece is designed, constructed, hand quilted (stitched), and bound by me, Jean M. Judd, a full time studio art quilter and textile artist. I do not hire out any aspects of my work. My hand creative visions is what makes them truly unique from other textile artworks.
To learn more about my studio or to see a few examples of my process, check out the other pages on my site which can be accessed via the menu bar on the left hand side of every page.
Exhibitions and Representation: My full exhibition and publication history can be found on the Credentials page. To see individual artworks' exhibition and publication histories, be sure to check out the Recent Exhibition page.The Links page will take you to find selected other artists' web sites, art galleries, and museums.
I am pleased to announce that as of July 2011 I am also represented by Xanadu Gallery in Scottsdale, Arizona which is run by owner J. Jason Horejs.
My textile artwork can also be viewed and purchased worldwide via the Saatchi Online web site.
I am currently represented by the Busacca Gallery in San Francisco, California. A selection of my artwork is available for purchase from them via their online gallery or you can arrange with Mark Busacca, founder of Busacca Gallery, to view my artwork in the gallery on Hyde Street.
As of December 2015, Skyline Art Services of Houston, Texas is now representing my textile artwork for corporate, home, and healthcare projects. I am excited to see what projects develop over the next several years from this partnership.
As of November 2016, I now have had my textile artwork juried onto a new platform sponsored by Amazon called Amazon Handmade. I am looking forward to the added exposure of being included on this new platform and expanding my collector base.
A condensed image list in PDF format of currently available artwork can be opened and downloaded from thislink.
To see a short video discussing my series work in 2010 and the benefits of being part of a Visioning group , check out my YouTube video here. There are also several videos discussing my inspiration and process for some of my more recent artworks on YouTube.
Commissions and Works in Progress: I am making every effort to present a large sampling of my commissions, art quilts, and home decor textile pieces. Some work is not included by request of clients who want their art seen only at their home, office, or gallery.
There are several new series that are unfolding in the Works in Progress section. Please check back often as changes will be occurring frequently on many of the pages each week. There is plenty of information here to explore throughout the web site.
As new web site pages are designed, they will be available for immediate viewing. Clicking on any of the menu links on the left will unfold sublinks to pages with various series work, exhibition history, multiple textile galleries, commissions, and additional services that I currently offer.
My artwork is also available for purchase through my Gallery site by clicking on the link or selecting the Acquire link by each available artwork. Payments are made through Paypal so your credit card and banking information is totally secure.
The textile artwork that is not currently out on exhibition, can be scheduled for a private viewing in my studio. Please remember that this is a working studio so advance notice is required. By special request, I have taken pieces to clients homes and offices for viewing, but only when travel expenses are covered.
For those familiar with traditional quilt size conventions, you will notice that all of the sizes listed for my work has the height first and then the width. Quilt shows usually list the width first and then the height. Listing the height first and then the width is the customary size conventions used for fine artwork such as paintings and drawings which are displayed on walls. I have utilized this size convention here so that there is consistantcy in my web site, that matches the fine art exhibitions that my work currently fits into.
I can be reached by email using the Contact Artist page located in the left menu bar,or by phone at (715) 566-0212. You can also contact me at my direct e-mail address: email@example.com
If you are interested in being included in my yearly postcard mailing, please us the Contact Artist link and send me your mailing address. I do not share my mailing list with any other businesses, artists or organizations. I do not send out email blasts or newsletters so you won't be bombarded by these from me.