Judith Tucker
www.judithtuckerartist.com
@judithtuckerart
Statement:
I am a painter who has worked with landscape, place, and environment for almost my whole creative life. When you are in one place, that place so often reminds you of others: so, of course, one place is never really one place but many. I’m interested in what it means to make those connections and paint that complexity now. The edges of the land: coasts and resorts are the sorts of places I return to. The kinds of places where tourists play, birdwatchers observe, where battles are fought, where refugees leave and arrive, where salt and fresh water mingle, where land floods, where cliffs crumble. The kinds of places with a blend of natural and cultural features which, in microcosm, reflect larger issues. The kinds of ordinary places where pleasure and fear coexist. These are paintings which know that what you see is not what you get. Paintings which seem to invite you in but simultaneously keep you on the outside. My series, Dark Marsh, two paintings from which I submit to Beep, consider the pioneering salt marsh plants of the Humberston Fitties, Tetney Marsh area. These are plants that are both vulnerable to sea level rise, but also help to protect the land from flooding, they have been growing for centuries, and whilst the marsh looks the same on the surface: what lies beneath them and round the comer is very different. These paintings invite us to think precisely about the way: nothing has changed, everything has changed.
www.judithtuckerartist.com
@judithtuckerart
Statement:
I am a painter who has worked with landscape, place, and environment for almost my whole creative life. When you are in one place, that place so often reminds you of others: so, of course, one place is never really one place but many. I’m interested in what it means to make those connections and paint that complexity now. The edges of the land: coasts and resorts are the sorts of places I return to. The kinds of places where tourists play, birdwatchers observe, where battles are fought, where refugees leave and arrive, where salt and fresh water mingle, where land floods, where cliffs crumble. The kinds of places with a blend of natural and cultural features which, in microcosm, reflect larger issues. The kinds of ordinary places where pleasure and fear coexist. These are paintings which know that what you see is not what you get. Paintings which seem to invite you in but simultaneously keep you on the outside. My series, Dark Marsh, two paintings from which I submit to Beep, consider the pioneering salt marsh plants of the Humberston Fitties, Tetney Marsh area. These are plants that are both vulnerable to sea level rise, but also help to protect the land from flooding, they have been growing for centuries, and whilst the marsh looks the same on the surface: what lies beneath them and round the comer is very different. These paintings invite us to think precisely about the way: nothing has changed, everything has changed.
Dark Marsh Darkening Reed
120 x 160cm
Oil on linen
2022
120 x 160cm
Oil on linen
2022