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Judith Burrows

Judith Burrows is a multi-disciplinary artist, photographer, and award-winning filmmaker.

Films have been screened at the London Film festival, Edinburgh, Los Angeles AFIF, and festivals around the world. Her film PULSE was projected on the National Theatre with sound running along the embankment, while documentaries are held in the National Portrait Gallery archive.

A desire for a more visceral expression of her ideas, and connection to materials and process, she began painting in 2015. A mixed media fine art practice resulted in exhibitions, commissions and acceptance at the RCA in 2018.

JB seeks connectivity in her working practice. Ideas may begin as photographs, or oil paintings on canvas, screen-prints, lithography or etching, then develop across metal or glass sculptures, and ultimately a film or sound piece.

Raw steel is currently the material that best carries her ideas, degrading and rusting through symbiotic interaction with organic matter. This becomes pigment for painting.

Traces and effluent of the processes; dust, decay, rust, ash, dead leaves, bones, sand, salt are collected and placed in hand-blown glass globes, like fragile glass coffins.

Recent Exhibitions

2021: GALLERY 40: Solo RCA graduation show. TRAVERS SMITH COLLECTION: 2021. CROMWELL PLACE: RCAPRINT group graduation show ART FROM THE HEART: Online Show: https://www.artfromheart.co.uk/virtual-exhibitions ROYAL WEST OF ENGLAND ACADEMY BRISTOL

2020: IASI PALACE of CULTURE , ROMANIA : Beyond other Horizons: Exhibition and British Council Symposium. 2 Lithographs. Printed Catalogue. SOUTHWARK PARK GALLERY:In Review’ RCAPRINT group show. Installation of metal sculptures, lithograph. BOOK I on waste: edition of 15 Artist books

2019: BLACK SWAN ARTS: en Estos Momentos. HOCKNEY GALLERY: group show COURTYARD GALLERY RCA, Brexit show ESPACIO GALLERY : 5 new paintings in response to the work of Rooftop Collective photographer Chris King, Curated by Anna McNay                




In a time of ‘Uncertainty’, ‘Lostness’ and global precariousness, I am prompting a dialogue between living organisms, and the man-made, and exploring a parallel mutual interaction. 

I am concerned with imbalance of natural order and fragile eco-systems, and searching for balance, symbiosis and connectivity, at a time of disconnection.

In an interdisciplinary practice, I choose materials that decay and atrophy with time, in turn becoming absorbed back into the earth, acknowledging impermanence. Metals, glass, degradable papers and canvas.  I observe nature’s response to these materials by creating narratives in a form of scientific experiment.

A tension between the organic in transformation, communicating with the unstable man-made in turn influenced by the elements, and the seasons. An exchange takes place through corrosion and decay.

My attempt at intervention precludes any defined outcome. Like a game of chess, I make a move and nature responds in unpredictable ways.

Rust, and transformed organic matter from the interaction is captured in glass globes as evidence.

At a point of vulnerability what is revealed are rich tones and form decided by nature in the printed outlines of the source material: fragility on the surface in metamorphosis; a palimpsest holding memory in process: a rebirth.

SYMBIOSIS I: steel, organic matte, h.47cms,w 50cms,d17cms
SYMBIOSIS I Reverse
SYMBIOSIS III: Steel organic matter, h54cms,w.46cms,d15cms
SYMBIOSIS II and leaning figure: steel, organic matter h44cms, w42cms,d14cms magnet, meta squares 6x6cms. Figure: steel 25x15cms
SYMBIOSIS V: Folded steel,, organic matter, print, h50cms,w55cms,d8cms magnets metal squares 6x6cms
SYMBIOSIS IV and leaning panel: h36cms.w50cms,d17cms metal squares 5x5 cms

The panels of the screens are lightly welded, held together by a thread.

The organic in transformation, communicating with the unstable man-made in turn influenced by the elements, and the seasons. An exchange takes place through corrosion and decay.

Tension between the decaying materials and attempts to manipulate by holding back areas with tape, adding water at varying temperatures and acidity, leaves an indeterminate result suggesting an inability to control nature.

Variations in colour and depth of patination exposes seasonal differences, cycles that reveal matter in transformation. Rich tones resembling the colours of pollutants, and a form decided by nature and the elements, in the printed outlines of the source material.

There is a sense of transience and impermanence posing questions on the transitional nature of life, and a cycle of change.

Medium:

steel

Size:

various sizes
IN MORPHIC RESONANCE — 5x5x5cm Steel
SURFACE TENSION — 10x10x10x10cms
GAIA-MOTHER AND CHILD — 18x18x18cms 5x5x5cms Homage to Barbara Hepworth
EXPANDED — 12x12x12cms. Folded, welded, pushed and squeezed.

Cubes, hollow, perforated, expanded, folded, welded and placed together or in isolation in a balancing state, with potential to fall.

Planets in constellation,

Medium:

Mild steel, perforated steel, expanded steel,

Size:

various sizes
WINTER SOLSTICE — Quadryptich of steel panels 30x60cmsx4
CHAOS IN PARADISE I — Triptych of steel panels 20x50x3
CHAOS IN PARADISE V — Triptych of steel panels 20x50x3
CHAOS IN PARADISE VII — Triptych of steel panels 20x50x3
TRACES — Diptych of steel panels 30x60cmsx2
ALCHEMY I, II, III 30x125cms x3 from the series ALCHEMY I-XIII

During Lockdown 2020, I worked on 2D steel panels observing the reactions of organic matter to the transforming metal over time and the seasonal patterns of decay.

The deconstruction of the steel, conveys an organic return to an unrefined form, particularly evident when primal matter reacts to the surfaces. An exchange takes place through corrosion. Both vegetation and metal reach a point of vulnerability.

A synergy and mutuality of man with nature. There is a sense of transience and impermanence posing questions on the transitional nature of life, and cycles of change.

A dialogue between the organic matter and the materials; a tension between the living and the inanimate and between myself and process, set up like scientific experiment in my garden. The type of vegetation, stages of photosynthesis, moisture content, and crucially the elements; the acidity of rain, ice, heat of the sun, power of the wind, and seasonal light availability, all play a part in the outcome.

Variations in colour and depth of patination reveal the seasonal differences, cycles that reveal matter in transformation. Rich tones resembling the colours of pollutants, and a form decided by nature and the elements, in the printed outlines of the source material.

As a result of these findings I am currently working on 13 large panels reflecting the13-month cycle of the lunar calendar for RCA 2021.

Medium:

Steel wall panels, organic matter

Size:

various sizes
SHADEN V and CORRUGATION
SHADEN III
SHADEN LEANING
SHADEN LANDSCAPE
SHADEN II and IV
CONTINENTAL DRIFT

Shards are a response to desolate wastelands: homage to landscapes made barren by human detritus in a place no longer useful.

Steel totems, artefacts to antiquity, heavy and rigid, with acutely sharp edges suggest intransigence. Lines and marks on their surface, created from interaction with each other in the elements, in antibiosis. Scars on the surface. Solid and sharp yet holding a delicacy and vulnerability.

When separated a sense of ‘lostness’ in contradiction of the status quo. Small metal squares cling like limpets to the surface, others lean precariously on each other: the tenuousness of the human condition.

Medium:

Corden Steel

Size:

Heights from 180cm to 30cm width from 15 cm to 60cm
ANTIBIOSIS IV — 75x25cms
ANTIBIOSIS I — 90x35cms
ANTIBIOSIS III — 75x52cm
ANTIBIOSIS VI — 63x49cms
ANTIBIOSIS X — 40x26cms on galvanised steel base with rusted leaves

Discarded they lie heavily on each other, a pile of waste material.

Liberated they interact, or react one against the other in antibiotic condition.

Changed by the elements, organic matter, alongside my attempt at intervention






Medium:

Steel

Size:

Various sizes
INFINITY PARTICLES — 8 globes
BONES — vole, and mice bones extracted from an owl pellet
ASH — Ash from wood burnt on rusting metal
RUST — collected rust from the process
DECAY — dead leaves after interacting with the stell
DEAD ROSES — dried petals after impregnating the steel surface

Traces of dust, decay, rust, ash, dead leaves, bones, sand, salt, the effluent of my processes, are collected and placed in 8 hand-blown glass globes, like fragile glass coffins,

“Make yourself one with dust. This is the profound identity. The eternal profundity between man and nature… of ash and the earth from which we come and from which we return’” Antonio Tapies from Tao te Ching

Transparent and Womblike, yet inaccessible with sharp edges, the globes are balanced on sculpted, poisonous zinc, cut into sharp barbed-wire strands - a contradiction between the purity of glass and the jagged hostility of the wire. These in turn are precariously placed on a thick sheet of plate glass, itself then balanced on 27cm high rusted steel rods.

Medium:

HAND-BLOWN GLASS

Size:

27cm,24cm,21cm,18cm,15cm,12cm,9cm,8cm,
En Estos Momentos — 'In this moment'. A video shot through the perforations of a steel sculpture.
RUMOURS of RAIN : 4 Horsemen — image for photo-litho 60x80 cms
UNCERTAIN STATES I — mono-print - litho
ON COGGLESHALL ROAD — Photo Litho print. In exhibition alongside 'On Madaba Road', Iasi, Romania, 2020
OFF MADABA ROAD — Photo Litho print. In exhibition alongside 'On Coogleshall Road, Iasi, Romania, 2020
OPEN ROAD — Photo litho prepared for print

Experiments in print on metal and paper, include lithography, etching and screen-printing, as well as flatbed digital printing.

I am currently working on a large 3-panel project 30x125cmx3 for a collaboration with theo/artistry a collaborative project set up by St Andrews University.



Medium:

Video, lithograph, screen-print, etching

Size:

Various Sizes
UNCERTAIN STATES I — Mixed Media on Canvas: Oils, rust pigment, waxed paper, lithograph, letterpress, metal,
UNCERTAIN STATES : A lot of things don't make sense any more — Mixed Media on Canvas: Oils, rust pigment, waxed paper, lithograph, letterpress, metal,

Empty streets, husks of buildings in vast landscapes stretch to infinity embracing notions of ‘Lostness’ in an incongruous, discordant, apocalyptic wasteland.

Oil paintings on canvas corrupted by liquid dripping in space: rust pigment from decaying steel. Re-appropriated lithography, letterpress, and metal, shift viewpoint to beyond the surface.

Medium:

Mixed Media on Canvas: Oils, rust pigment, waxed paper, lithograph, letterpress, metal,

Size:

122x92cm
GLOBES - INFINITY PARTICLES
GLOBES - INFINITY PARTICLES
SCREENS
IN MORPHIC RESONANCE
EN ESTOS MOMENTOS

Installation expresses a landscape of interconnectivity in emotional uncertainty.

From a ‘lostness’, to re-establishing connection, before finding further vulnerability in a state of metamorphosis, cause and effect, precarity - the language of ‘Uncertain States’.

infinity Particles, In Morphic Resonance, Screens, en Estos Momentos

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