Judy D. Shane
Judy D Shane’s photographic artworks explore an interdisciplinary dialogue between painting and photography that question the space between the two disciplines from both manual and digital perspectives. By using focally stacked photographs to examine the micro world of hand painted brushstrokes as seen through the macro lens, she creates large scale photographic composites that exhibit a three-dimensional realism and a hyper-materiality while remaining grounded in a two-dimensional format. Her work continually navigates between the real and the unreal, and provides the viewer with a magnified sense of rich colour and detailed texture that cannot be so easily observed by the naked eye.
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PORTRAITS
The Portraits series explore the abstracted representation of culturally popular film characters in a tongue and cheek style. These artworks abandon traditional painted and photographic approaches commonly associated with portraiture where visual realism is key and facial and/or figurative expression is conveyed. Instead, pictorial “likeness” is reduced to the subject’s observed colour within their respective film narrative using hand-sculpted brushstrokes of paint. The subjects become essentially colour caricatures of their original selves as defined by Tiffany’s signature teal blue in Holly Golightly #438. Each inkjet “portrait” is printed on watercolour paper and housed by a thick walnut frame which mounts flush to the wall.
MULTIFORMS
Field and form are the subjects of Shane’s artworks in the Multiforms series. Influenced by the colour field painters of the 1940s and fifties, Shane’s artworks too point towards the pure aesthetic of colour as field and probe figure-ground relationships as found in painting but all from an evolved photographic viewpoint. Her large inkjet and lightjet prints of deeply saturated blocks of paint are in a way an artificial “painting” where paint and pixels come together and present themselves as a fresh questioning of what colour fields, painted or photographed, can be.
REMNANTS
The images of remnant paint – scraped from the surface of her studio mixing palettes – continue to emphasize the extensive working process used in creating Shane’s photographic artworks. Random colour and textural relationships created by the haphazard removal of the paint from the palettes is forged into each paint shard highlighting the fragile intricacies of chance. As with all of her work, here again the spatial relationships between figure and ground become blurred as well as the lines between two-dimensionality and a three-dimensional realism.
RE:WORKED
Shane’s latest series of artworks under her umbrella title, The Painted Photograph, are her most ambitious multi-stacked photographs and digital composites to date. By recycling and altering the original physicality of remnant paint as used in her previous artworks, she creates images that defy what a traditional painter can accomplish with their painted subject material. These artworks continue to exemplify a complexity of visual information and pushes our interpretation of yet a seemingly commonplace subject matter from both a painterly and photographic point of view.
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Recent Artwork
![The Painted Photograph: Bracketing Series ([Comp C][v.02])](https://res.cloudinary.com/kostuik-gallery/images/f_auto,q_auto/w_400,h_284,c_fill,g_auto/v1608115261/JDS56_BRACKETING-COMP-C-v02_18-x-18_2013/JDS56_BRACKETING-COMP-C-v02_18-x-18_2013-400x284.jpg)
Series
Video Interviews
Artist Information
Artist Website: judydshane.com
Judy D Shane's photographic artworks explore an interdisciplinary dialogue between painting and photography that question the space between the two disciplines from both manual and digital perspectives. By using focally stacked photographs to examine the micro world of hand painted brushstrokes as seen through the macro lens, she creates large scale photographic composites that exhibit a three-dimensional realism and a hyper-materiality while remaining grounded in a two-dimensional format. Her work continually navigates between the real and the unreal, and provides the viewer with a magnified sense of rich colour and detailed texture that cannot be so easily observed by the naked eye.
Residence: Vancouver, BC, Canada
Born: 1960 Burnaby, BC, Canada
Education
2008 – 2012
BFA, Emily Carr University of Art + Design, Bachelor of Fine Arts Program, Vancouver, BC
1996 – 1997
Vancouver Film School, 3D Computer Animation + Digital Effects Program, Vancouver, BC
1993 –1995
Emily Carr Institute of Art + Design, Bachelor of Fine Arts Program, Vancouver, BC
Solo Exhibitions
2017
The Painted Photograph – Kostuik Gallery – Vancouver, BC.
2014
The Painted Photograph – Emily Carr Alumni Gallery, Queen Elizabeth Theatre – Vancouver, BC.
Group Exhibitions
2017
This, That and the Other Thing: Ruminations of Order – The Reach Gallery Museum – Abbotsford, BC.
2016
Photograpy Exhibition – Agora Gallery, New York City, NY
2015
“Non Existing Reality”, Jennifer Kostuik Gallery, Vancouver, Canada
2015
Moving Forward Looking Back – Emily Carr Alumni Gallery, Queen Elizabeth Theatre – Vancouver, BC.
2015
Pathway to Abstraction – Agora Gallery, New York City, NY
2013
This, That and the Other Thing: Ruminations of Order –
City Scape Community Art Space, North Vancouver, BC
2012
Degree Exhibition – Emily Carr University of Art + Design – Vancouver, BC
1995
The Foundation Show – Concourse Gallery, Emily Carr Institute of Art + Design – Vancouver, BC.
Artfairs
2016 Context Art Miami, Kostuik Gallery, Miami, FL, USA
Awards / Nominations / Honours
2015
“Honourable Mention” (Photography Category) in the 2015 London International Creative Competition
2006
Webby Awards Winner, Best Website – Juried Health Category
Anatomical Travelogue Inc. – The InVision Guide to a Healthy Heart2003
Crystal Screen Awards, Best Visual Effects
Lost Boys Studios – “Tornado” Beat/Coca Cola Mexico
2003
3D Festival Nomination, Best Gaming Cinematic
Lost Boys Studios – “Need for Speed: Hot Pursuit 2”
2002
Leo Award Nomination, Best Animation Program or Series
Lost Boys Studios “Frank Was A Monster Who Wanted To Dance”
2001
Emmy Award Nomination, Outstanding Special Visual Effects for a Series Stargate SG-1 “Small Victories”
2001
Gemini Award Nomination, Best Visual Effects
Stargate SG-1 “Small Victories”
2001
Leo Awards Nominations, Best Visual Effects for a Dramatic Series
Stargate SG-1 “The Curse” and Stargate SG-1 “Small Victories”
2001
Vancouver Effects + Animation Festival 2001, 3rd Prize: Best Cinematic Video Game Opening Lost Boys Studios – Funcom “Anarchy”
2001
25th Northwest International Film Festival, Best Animated Short
Lost Boys Studios “Frank Was A Monster Who Wanted To Dance”
2001
New York 2001 Festival of Film and Video, Silver World Medal
Lost Boys Studios “Frank Was A Monster Who Wanted to Dance”
2001
Mobius Awards, Winner for Best Computer Animation
Lost Boys Studios – GNP Insurance “The Light”
2001
Mobius Awards, Certificate for Best Visual Effects
Lost Boys Studios – Bacardi Limon Campaign
2000
International Monitor Awards, Best Visual Effects for National Campaign Lost Boys Studios – Bacardi Limon “Stinger”, “Spider”, “Twister” and “Frozen”
2000
Mexican Advertising Awards, Bronze Circulo Creativo
Lost Boys Studios – GNP Insurance “The Light”
2000
Vancouver Effects + Animation Festival, 1st Prize: Best Visual Effects Lost Boys Studios – Bacardi Limon “Stinger”, “Spider”, “Twister” and “Frozen”
1994
Friends of Emily Carr Scholarship
Judy D. Shane “The Painted Photograph” – view press release
Articles / Essays / Blogs
2015 “The Painted Photograph: Portraits – Pop-Culture Revenants”. Curatorial Essay by Edwards, Rhys.
2014 Shen, Pennylane. “The Painted Photograph: Colour as Black and White”. 2013”. Curatorial Essay.
2013 Shen, Pennylane. “Ruminations of Order – CityScape Gallery March 2013 ”. Curatorial Essay
2012 Griffin, Kevin. “Emily Carr U Awards: Jurors Pick the Winners“. The Vancouver Sun. http://blogs.vancouversun.com/2012/05/10/emily-carr-u-awards-jurors-pick-the-winners/
1070 Homer Street,
Vancouver, BC, V6B 2W9, Canada
T. 604.737.3969
E. info@kostuikgallery.com