Judy D Shane’s photographic artworks explore an interdisciplinary dialogue between painting and photography by examining the world of the painted brushstroke as seen through the macro lens. Her art practice questions and challenges the space between painting and photography by using contemporary digital technologies to create multi-layered photographic composites of individually sculpted strokes of paint. These multicolored tiny pain remnants become large scale compositions of three-dimensional realism and materiality, full of energy, almost like a movie still of a caught moment in time Her art work addresses concepts of mathematical ordering, patterning and repetition with a sense of inquisitiveness that permeates through all of Shane’s named series. She is an expert illusionist, defying the her original squeezed, spread, smeared and mixed paint material by presenting all the fine detail of the paint as almost a living, active intensity, enticing the observer to reach out and try and touch, only to realize it's a flat 2-D surface. Even Shane’s choice of linen paper confuses and links the understanding between photography and painting.

Judy D Shane’s photographic artworks explore an interdisciplinary dialogue between painting and photography by examining the world of the painted brushstroke as seen through the macro lens. Her art practice questions and challenges the space between painting and photography by using contemporary digital technologies to create multi-layered photographic composites of individually sculpted strokes of paint. These multicolored tiny pain remnants become large scale compositions of three-dimensional realism and materiality, full of energy, almost like a movie still of a caught moment in time Her art work addresses concepts of mathematical ordering, patterning and repetition with a sense of inquisitiveness that permeates through all of Shane’s named series. She is an expert illusionist, defying the her original squeezed, spread, smeared and mixed paint material by presenting all the fine detail of the paint as almost a living, active intensity, enticing the observer to reach out and try and touch, only to realize it's a flat 2-D surface. Even Shane’s choice of linen paper confuses and links the understanding between photography and painting.