The Painted Photograph: Remnants and Other Fragments
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.
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.