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Judith trips out

28 Mar

Judy Glantzman, “Judith and Holofernes.” 2008, Oil on canvas, 62.6 x 162.6 cm, http://www.cafe.themarker.com/post/2225308/

Like any good rock concert, I might better appreciate contemporary art with altered consciousness.   But like any good rock concert, that is what makes it challenging and fun.

This is the work of Judy Glantzman, who describes her work as:

“A cacophony of voices desired to be heard, these paintings can be seen as the inside of my head made visible …The paintings are worked over a long period of time. The repetition and repainting allows me freedom to form each figure without judgment – I choose to reveal myself, but what is revealed can be scary. I try to be unafraid of my work.” (1)

Definitely, there is a lot going on and it could be revealing.   The focal point is the dark head at the center of the painting – apparently cradled in Judith’s hands in front of her chest.   Emanating from this center are a myriad of other images, a spectrum of innate emotions about the beheading of Holofernes.   It is as if all these people and events are present in the moment that Judith has taken his head – all the circumstances that led up to the moment and all the circumstances that will be altered by it.   And they radiate out from Judith and Holofernes like waves that ripple from a drop of water on a still surface.

Antecedents.  Consequences.  Reminders that our acts are never simple things.  And some are more concentrated in their effects than others.

 

(1) Scene B Scene, 11c., Dactyl Foundation- Judy Glantzman: A 30-year Retrospective, April 4, 2009

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Posted by on March 28, 2012 in Cacciatore

 

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