Forceful

A CONVERSATION WITH ARTIST-ALCHEMIST JUDITH KRUGER

• Sunday, January 28, 2018 •


Judith Kruger, born 1955, is an American visual artist whose paintings, prints and mixed media works address Human-Environment connectivity and their shared vulnerabilities. She is recognized internationally for her advocacy of natural painting materials and historic, ecological processes.  

Her solo exhibition, Mingled Terrain will open in February 2018 at the new Rosalind Sallenger Richardson Center for the Arts Museum on the Wofford College campus in Spartanburg, SC. Recent solo exhibitions include An Alchemic View, an intimate survey spanning 10 years of her alchemic work. Cullowhee Arts is delighted to be hosting her explorative workshop Abstract Alchemy: Black, White & Warm Metallics on the Wofford campus in conjunction with this exhibit.

Please enjoy the conversation between Judith and me about her process, passion and content of her work and workshops:

Norma:  Your employ an amazing array of materials from the natural world in your art work and your workshops: pine soot, shells and earth minerals, natural metallics, cured shells, precious minerals, soils, indigo, insect secretions. When did these materials become part of your process and what opened you up to the idea of working this way?

Judith:  In 2001 during a trip to Kyoto, an artist took me to meet Saiundo Fujimoto, one of Japan’s finest pigment purveyors. It was there, at his tiny shop, where I had my very first introduction to Nihonga, traditional Japanese mineral pigment painting. The fact that I could make paint from the natural environment that had the capacity to give back visually as deeply as nature often does, was mind boggling. I had no idea then how obsessed I would become with every aspect of this ancient painting system and how much I would eventually expand its boundaries for my own practice.

Norma:  Do you see yourself as part alchemist, part artist? How did this develop in your creative work?

Judith:  Most definitely. The excitement of making my own painting materials is sort of like having a baby. One can only imagine the miracle of birth, but there is nothing like the actual experience of it. On a daily basis, I am buried deeply in alchemic potions and processes. The thrill of inventing and metamorphosing just keeps growing. 

Norma:  In your artist statement you say, “My on-going work is the byproduct of a deep engagement with environment, place and the physicality and materiality of all phenomena.” Can you think of when you first began to have this “deep engagement with the environment,” perhaps even as a child?

Judith:  Nature has always fed my soul. I had a huge rock collection as a child and lo and behold the collection continues to grow now, however, for paint’s sake. I attribute my love of wabi (beauty of the imperfect) and grit from growing up in Pittsburgh around the steel mills.  I find beauty in subway stations and rusted boiler rooms.

Norma:  You order some very specific Japanese papers for your students to work on in your workshops, can you talk about how you became acquainted with these papers and why they are an important aspect of the processes you teach?

Judith:  In (my workshop) “Nihonga: Then and Now workshop”, it is important to use the traditional hand made Japanese Kumohada paper, protected with layers of gofun (white shell gesso). We learn about sizing, how inks, dyes and minerals are used in different particle sizes, etc. In the “Abstract Alchemy” workshop, the students work on both Western and Eastern papers in order to push alchemic boundaries and invent. This course, while rooted in Nihonga, focuses more on an environmental or material aspect of the medium than the Orientalism.

Norma:  Your workshops are highly attended and generally wait-listed. Can you talk about what your students come away with after the workshop, and comments you often hear from you students?

Judith:  They learn how to size, and mount paper on canvas and wood, make hide glue size, binders, and make gessoes and paint from shells, mineral and plant material. After the paint is made they learn many different painting techniques: some that stems from ancient China and Japan and others developed by me for my environmentally focused work. I do not delineate subject matter. I welcome representational as well as non-representational painters. Some students say they really learned how to abstract from me, others say they “see” differently. Many of my students continue to work with me for years, generally meeting (again) in another workshop.

THE WORKSHOP - A FEW SPOTS ARE STILL OPEN!

ABSTRACT ALCHEMY: BLACK, WHITE, & WARM METALLICS
March 19 - 23, 2018
Medium: Paint, ink, mixed media 
Level: All Levels  
Tuition:  $700 
Lab Fee: $170 (includes most supplies and equipment)

A conversation with artist Nancy Gruskin: Her Path, Her Painting

• Saturday, January 27, 2018 •

Norma:  You have a very unusual route that led you to your current vocation of being a full-time painter. As a young girl, you attended museum art classes for youth, your college years steered you to a Ph.D. in art history, then you followed a familial trail to becoming a lawyer. Can you talk about how these intersections on your path have, and are, informing your current work?

Nancy:  Painting has always been in the background, since I was a kid.  It wasn’t until about four or five years ago that I decided it was time to move it to the foreground.  I think it was one of those mid-life moments where you stop and think, what is it that I truly love to do?  I also think that the twisted path I took getting to that moment shaped me as a painter.  As an art historian, I developed a pretty good eye for color and composition and my life experience definitely affected my choice of subject matter.  I’m not sure what I would have chosen to paint as a twenty-something, but having a family—and the joys and the mundane responsibilities that come with it—is a treasure trove for me as an artist.    

Norma:  Since you have a Ph.D. in art history I am certain you have a few “heroes on your shelf” -  those that you honor and whom you feel you are in conversation with when you approach your painting. I have some suspicions, but would love to know your premier influences – those you revere and whose aesthetics you honor in your own painting.

Nancy:   It’s a long list!  From a subject matter perspective, I’m definitely drawn to painters whose work tends to be autobiographical—painters like Pierre Bonnard, Fairfield Porter, Joan Brown, and Alex Katz.  Bonnard’s compositions and Porter’s palette floor me every time.  Matisse, for his color sense, love of decorative pattern, and the seeming effortlessness of his work.  I also love the work of Richard Diebenkorn, Elizabeth Blackadder and Janice Biala.  I could go on and on!   

Norma:  I love the direct, decisive brush work in your painting, combined with very intriguing compositions. Your subjects may be pushed almost out of the picture plane. I am also pulled into your world when I see common objects – the take out Chinese food box, the kitchen table strewn with the cereal box and empty bowl, your son nearby tying his shoe, part of what appears to be your husband reading the paper, and the black dog splayed out on the floor – It makes me want to be on the couch in the living room reading a book while this warm everyday drama in your home plays out. How did this autobiographic way of working come about for you?

Nancy:  I think it’s a little like when people tell writers to write what they know—this is my life and it’s what I know best.  It also has a lot to do with the fact that my studio is in my house.  I’m often dragging my easel around different rooms.

Norma:  I know you have taught on many levels – classes, workshop, university, etc. You will be teaching a 3-dayworkshop with Cullowhee Arts in Snow Hill, Maryland, starting with your slide talk the night before the workshop begins -  March 8 – 11. What can students expect to take away from their time with you?

Nancy:  I think they can expect to take away some very concrete tools—for example, how to simplify, abstract and edit form and how to mix a wide range of colors with a limited palette.  Conceptually, we’ll be exploring how to combine direct observation with painting from memory and invention.  There is a take-away for me too—my love of painting is reinvigorated by the ideas and practices of my fellow artists.  Painting can be such a solitary activity.  Being in a studio for a few days with other people who share your passion is a win-win! I think it’s going to be a really energizing weekend! 

The Workshop:

March 8 - 11, 2018
Medium:  Drawing, Painting
Level:   ALL LEVELS
Tuition:  $575  | Lab Fee: $75 (includes model fee)

Nancy Gruskin lives and works in Concord, MA.  She holds B.A. in Art History and Studio Art from Connecticut College and a Ph.D. in Art History from Boston University, where she was the recipient of the Angela J. and James J. Rallis Memorial Scholarship.  After teaching art and architectural history at Harvard University, Tufts University and Connecticut College, she now devotes herself to painting full-time.  Her work is in private collections in the United States, the United Kingdom and Australia, and has been exhibited in numerous galleries, including Galatea Fine Art in Boston and Prince Street Gallery in New York City.  She teaches painting at the Concord Center for the Visual Arts.          nancygruskin.com