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Judith BerryDoubt2012
2012
$10,500
£7,859.09
€9,081.28
CA$14,560
A$16,309.07
CHF 8,478.90
MX$201,384.20
NOK 108,014.56
SEK 102,110.96
DKK 67,769.45
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About the Item
At first glance the subjects of Judith Berry’s paintings appear to be monumental forms such as prairies, forests and mountains. Upon closer inspection they could be smaller, more manageable things, such as objects on a blanket or figures on a rug. In some paintings, grassy particles accumulate to form figures. These figures have an absurd quality: they seem to have grown out of the landscape in order to hasten the rate at which it changes. Sticks protrude from them, forming hands and indicating a wooden, skeletal structure. Recently Berry’s attention has shifted from the creation of these quasi-humans to simply painting piles of sticks surrounded by more verdant shapes. The vegetal figures have been absorbed into the landscape, leaving mounds of dirt, trees, and tunnels made of hedges. These new landscapes appear highly controlled but the forms they contain interact with each other to bring about new detours and chaos. Waterways twist, converge, and become stymied.The heaps of sticks inhabiting many of the paintings, suggest former structures and past seasons. They remind one of failure and degeneration but they also hint at the possibility of renewal.
The countless small repetitive brushstrokes of Judith Berry’s paintings describe forms that are prone to collapse and mutation. The use of perishable materials such as grass, bushes, and trees to represent more permanent structures such as canals, tunnels, and buildings is an attempt to create an ambiguous sense of time. They blend objects that disappear vanish from one season to the next with those that may take hundreds or thousands of years to disappear. Apparently calm, these landscapes nevertheless convey an awareness of events both natural and political, some of them cataclysmic, that come to shape any place. Landscapes can conceal the sites of atrocities. They are the surfaces that bear the brunt of human interference and they evolve in a way that is out of our control. Berry’s paintings do not describe the world with a documentary approach. They are about identity in the shifting but inextricable relationship between place and circumstance.
- Creator:Judith Berry (1961, Canadian)
- Creation Year:2012
- Dimensions:Height: 60 in (152.4 cm)Width: 88 in (223.52 cm)Depth: 5 in (12.7 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Montreal, CA
- Reference Number:1stDibs: LU476123674
Judith Berry
Judith Berry was born in London, Ontario and grew up in Saskatoon, Saskatchewan. She studied at the Nova Scotia College of Art and Design in Halifax and spent one year in the Studio Program at the Banff Centre School of Fine Arts. She has had solo exhibitions across Canada in Montreal, Toronto, Calgary and Ottawa. Judith has also shown in numerous group exhibitions including exhibitions at the Musée du Québec and the Canada Science and Technology Museum. She has received funding from the Conseil des arts et des lettres du Québec and the Canada Council. Her work is in various collections including: the Musee du Québec, the City of Ottawa, the City of Montreal, the Royal Bank, and the Art Bank of the Canada Council. She has served as a jury member for the Conseil des arts et des lettres du Québec and the City of Ottawa.
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By Judith Berry
Located in Montreal, Quebec
The themes visited in this show stem from a desire to extend the vocabulary of my painting while forming a metaphor for the chaos of contemporary life.
The title, Escalade, has differing and complimentary functions in English and French. Continuing to paint, over a lengthening career, the medium poses more questions than answers. The title is a reference to my attempt to overcome these difficulties through the expansion of my painting language. The title also refers to the escalation of crises in the world at large. It is the larger picture in which I am a small person trying to make my way.
In a concrete sense, the title also refers to a strategy I have taken in a number of these paintings. That is, to re-examine very small paintings...
Category
2010s Abstract Figurative Paintings
Materials
Canvas, Oil
Some Thoughts
By Judith Berry
Located in Montreal, Quebec
I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...
Category
2010s Abstract Figurative Paintings
Materials
Oil, Wood Panel
Outskirts
By Judith Berry
Located in Montreal, Quebec
I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...
Category
2010s Abstract Figurative Paintings
Materials
Oil, Wood Panel
Episode
By Judith Berry
Located in Montreal, Quebec
I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...
Category
2010s Abstract Figurative Paintings
Materials
Oil, Wood Panel
Infiltration
By Judith Berry
Located in Montreal, Quebec
I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...
Category
2010s Abstract Figurative Paintings
Materials
Oil, Wood Panel
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Located in Montreal, Quebec
To trip and retrip on a piece of land, a surface, a support that sets up not a bounce but a billow, a soft surge, a reverberation where the ground is friendly, known, familiar and th...
Category
2010s Abstract Abstract Paintings
Materials
Wood, Oil
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