The fingers plunged in Judith charcoal draws on the walls by creating forms with its digital fingerprints.
Certain forms are abstract landscapes of flowers and foliages, others evoke the light and energy.
On a side they are landscapes of the other of the meditations on the contact with the fundamental structures of our universe. In these technological times, Judith celebrates the original touch.
There is a strong correlation between its body, coal and the images. It employs symmetry on all the scales, this one reflects its body and the omnipresence of symmetry in all nature, it draws sometimes with the two hands simultaneously in symmetrical gestures. As if she danced.
The digital fingerprint is its a means of primal expression, because she is drawing on the wall, and it represents both our uniqueness as individuals, as well as our commonality.
Judith started to work on the walls in 2009, with space for artists of New York. Since it fact 24 has some, including 800 sq. ft drawing for the Graphite show at the Indianapolis Museum of Art, a 600 sq. ft. solo installation at the Chrysler Museum of Art, Norfolk, VA,
and others at Palo Alto Art Center, CA, and Bloomberg Philanthropies, NY, as well as internationally in Berlin, Vienna, Brussels, and United Arab Emirates.