Born in Yorkshire, Judith studied painting at Leeds College of Art and Goldsmith's College, London. She now lives and works in Leeds and until recently taught painting in the Fine Art Department at Leeds Met University. Judith's paintings focus on the relationship between man and the landscape, and the way aspects of the landscape can be seen and interpreted metaphorically. Ethnological collections and travel, particularly to places with a deep-rooted sense of history are important in the development of her ideas, and colour is also of crucial significance. Source material and influences are diverse, making reference to elements of nature, landscape, plants and gardens. Judith says; 'In my paintings, I endeavour to provoke a sense of mystery in the viewer and trigger some feelings of the poignancy of the subject'. Judith has exhibited extensively in the UK, and has an impressive collection of awards to her name, including the Laing (Regional and National), Harewood Award, AHRB Award and the Arts Council Award.
ARTISTS STATEMENT
'My paintings focus on the notion of landscape and the natural world and mans relationship to it throughout history. My influences are diverse, and I make direct references to nature, landscape, plants and gardens within the work. Visits to museums and ethnographical collections are important sources of inspiration and travel, particularly to places with a deep-rooted sense of history, has become increasingly crucial for the development of the ideas. Research trips include a visit to Central Asia, Ecuador to explore the huge variety of wild plants, especially orchids, Mexico for its history, Queensland in Northern Australia for it’s vast areas of Rain Forest and most recently Sumatra, Laos and Bali for their diverse landscapes and rich natural heritage. Until the last few years my paintings were made using a range of materials and supports: Watercolour on paper/board, oil or acrylic on gesso, paper, canvas or panel. More recently I have limited myself to the use of acrylic pigments and mediums and find this more appropriate for my ideas. The surface of the support is crucial and built up over a period of days or weeks using thin layers of translucent paint prior to the introduction of any imagery. The specific colour qualities always have to feel ‘right’ and I often struggle to get the exact hue, intensity and luminosity. Drawing with fine line brushes is an integral part of this painting process. I endeavour in the paintings, by using the source material eclectically and by constantly redefining and redrawing, to provoke a sense of mystery in the viewer, and trigger some feelings of duality and the poignancy of the subject'.
Judith Cain 2010
Judith Cain 2010
