“The most interesting things exist within the space between two absolutes…real and imagined…strength and fragility…familiar and unfamiliar…natural and manufactured…analogue and digital…biological and botanical…”
In the tradition of neo-abstractionism, Jud Wimhurst creates conglomerate forms inspired by organic and inorganic shapes, objects and textures found in both the natural and human-engineered environments.
Conceptually, Jud’s work explores themes of phenomenology, anthropomorphism, memory, critical thinking and the human minds predilection for involuntary decoding processes (i.e. pattern recognition) in order to find a sense of order within chaos.
“Aesthetically speaking I am preoccupied with shape, form and materiality. The materials are always very deliberately chosen to not only best represent that shape or form but to also evoke feeling. I especially like using materials that are heavily loaded with a certain sense of meaning and therefore capable of triggering memory. Concrete, marble, fabric, jade, gold, bronze, chrome, metal, plastic, rubber, paper, glass all come with a different feeling that will be triggered in the viewer based on the experiences they have had with that material, stored somewhere in their memory. For example, marble may trigger a sense of opulence and luxury for one person whilst it may trigger a memory of cemeteries and death for someone else …and for another person it may remind them of both of these things provoking a more complex reaction.”
“My artworks begin with drawing …with paper and pencil on a small scale, in a free association, stream of consciousness manner, where shapes and forms emerge consisting of parts (or remnants) of objects seen somewhere in nature or the manufactured world. These drawings are then slowly and critically reworked in a process that purposefully pushes the drawing to the point of collapse and subsequent reconstruction allowing shapes, patterns and textures to emerge that are aesthetically appealing and evoke a gut feeling. This intuitive way of drawing seems to repeatedly result in a visual form already containing three dimensional information in both feeling and appearance that beckons to be explored further with other techniques and materials.”
“I believe in using all/any tools that are available, be they analogue or digital, in order to create an artwork that best conveys the intended idea or concept in the most appropriate visual language possible. As a result I could probably be best described as a multi-disciplinary artist with a predilection for the three dimensional.”
“The most interesting things exist within the space between two absolutes…real and imagined…strength and fragility…familiar and unfamiliar…natural and manufactured…analogue and digital…biological and botanical…”
In the tradition of neo-abstractionism, Jud Wimhurst creates conglomerate forms inspired by organic and inorganic shapes, objects and textures found in both the natural and human-engineered environments.
Conceptually, Jud’s work explores themes of phenomenology, anthropomorphism, memory, critical thinking and the human minds predilection for involuntary decoding processes (i.e. pattern recognition) in order to find a sense of order within chaos.
“Aesthetically speaking I am preoccupied with shape, form and materiality. The materials are always very deliberately chosen to not only best represent that shape or form but to also evoke feeling. I especially like using materials that are heavily loaded with a certain sense of meaning and therefore capable of triggering memory. Concrete, marble, fabric, jade, gold, bronze, chrome, metal, plastic, rubber, paper, glass all come with a different feeling that will be triggered in the viewer based on the experiences they have had with that material, stored somewhere in their memory. For example, marble may trigger a sense of opulence and luxury for one person whilst it may trigger a memory of cemeteries and death for someone else …and for another person it may remind them of both of these things provoking a more complex reaction.”
“My artworks begin with drawing …with paper and pencil on a small scale, in a free association, stream of consciousness manner, where shapes and forms emerge consisting of parts (or remnants) of objects seen somewhere in nature or the manufactured world. These drawings are then slowly and critically reworked in a process that purposefully pushes the drawing to the point of collapse and subsequent reconstruction allowing shapes, patterns and textures to emerge that are aesthetically appealing and evoke a gut feeling. This intuitive way of drawing seems to repeatedly result in a visual form already containing three dimensional information in both feeling and appearance that beckons to be explored further with other techniques and materials.”
“I believe in using all/any tools that are available, be they analogue or digital, in order to create an artwork that best conveys the intended idea or concept in the most appropriate visual language possible. As a result I could probably be best described as a multi-disciplinary artist with a predilection for the three dimensional.”
“The most interesting things exist within the space between two absolutes…real and imagined…strength and fragility…familiar and unfamiliar…natural and manufactured…analogue and digital…biological and botanical…”
In the tradition of neo-abstractionism, Jud Wimhurst creates conglomerate forms inspired by organic and inorganic shapes, objects and textures found in both the natural and human-engineered environments.
Conceptually, Jud’s work explores themes of phenomenology, anthropomorphism, memory, critical thinking and the human minds predilection for involuntary decoding processes (i.e. pattern recognition) in order to find a sense of order within chaos.
“Aesthetically speaking I am preoccupied with shape, form and materiality. The materials are always very deliberately chosen to not only best represent that shape or form but to also evoke feeling. I especially like using materials that are heavily loaded with a certain sense of meaning and therefore capable of triggering memory. Concrete, marble, fabric, jade, gold, bronze, chrome, metal, plastic, rubber, paper, glass all come with a different feeling that will be triggered in the viewer based on the experiences they have had with that material, stored somewhere in their memory. For example, marble may trigger a sense of opulence and luxury for one person whilst it may trigger a memory of cemeteries and death for someone else …and for another person it may remind them of both of these things provoking a more complex reaction.”
“My artworks begin with drawing …with paper and pencil on a small scale, in a free association, stream of consciousness manner, where shapes and forms emerge consisting of parts (or remnants) of objects seen somewhere in nature or the manufactured world. These drawings are then slowly and critically reworked in a process that purposefully pushes the drawing to the point of collapse and subsequent reconstruction allowing shapes, patterns and textures to emerge that are aesthetically appealing and evoke a gut feeling. This intuitive way of drawing seems to repeatedly result in a visual form already containing three dimensional information in both feeling and appearance that beckons to be explored further with other techniques and materials.”
“I believe in using all/any tools that are available, be they analogue or digital, in order to create an artwork that best conveys the intended idea or concept in the most appropriate visual language possible. As a result I could probably be best described as a multi-disciplinary artist with a predilection for the three dimensional.”