Judith Berry

Supervision

2018

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...

In Nobel's new works, overlapping shapes, rhythm and movement interact with grid systems to give both order and fluidity. The gridded images offer a sense of expansion towards or int...

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...

Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else? Her second solo show at Art Mûr brings together paintings, a sound sculpture, and chine collé prints, all of which reveal a fragile, fluid, and often fractured, north. An iron ore stone becomes a speaker, playing recordings of interviews and singing, and expanding the physical presence of the stone. The exaggerated textures of the paintings give them, too, a sculptural and documentary feel. They record how actions—breaking and piercing, pushing and pulling—disrupt and transform the paintings’ surfaces. By resembling patterns one finds in the wild—scratches across the surface of a rock, uneven waves that form on melting snow—they unhinge any clear distinction between what is natural and what is made. Made with a printmaking technique that binds together distinct papers, the chine collé prints begin with photographs Houston took of Baffin Island. She then combines the images with coloured paper, creating traces of the process of extracting and replacing parts of a scene, and an equal awareness of both what is present and absent. Some are composed of double circles, like looking through binoculars. In Business As Usual, a decaying interior—peeling wallpaper...

SHORT SPURTS 2021 Paris, France This piece is a visual interpretation of a poem the artist wrote around frenzied, short-sighted behaviors: “That part usually stays hidden. Those colors are not known for blending. Us? We come from a rib. And we tangle ourselves in the traps we set for our prey.” - Nicholas Evans The painting is composed of plaster, oil and acrylic, with the main detail shape, in white, positioned over wood glue, leaving a slightly raised effect. Embracing the unique imperfections of reclaimed objects aged over time, Evans uses antique found...

SOME SPAIN 2021 Paris, France Graphically bold, yet cerebral, this textured, abstract piece offers a rich color palette. Painted using oil, acrylic and plaster, and executed on an ...

A LUSH SPRING 2021 Paris, France "A Lush Spring" (Abstract Statuesque Lion, Rich Color Palette, Painting on Wood) Playful optimism. “A Lush Spring” is created using a rich color pa...

"Entrance to a Portal in Green" original abstract oil painting by Jocelyn Auld (b. 1999.) Evocative oil painting depicting a figure standing in front of a bright and glowing light s...