We’re all very close round here, 2018. Oil on Canvas. 76cm x 101cm
I have a particular interest in painting the unresolved remainders of human activity in landscape. I search out traces of past lives that might not be immediately obvious. Often the images I make depict man-made structures in relation to landscape, in this instance the holiday chalet park on the Humberston Fitties, a part of the Lincolnshire coast that might be considered the epitome of a landscape in which the human and non-human are interconnected and entwined. Here, since between the wars, local people and visitors have erected their diverse dwellings, in order to enjoy the simple, restorative pleasures of seaside life. During the First World War the area of the Fitties was used to billet soldiers and in the Second World War they were used for military purposes now they are holiday homes once more. In the wider body of work old and new buildings appear together, creating domesticity within a semi-wild landscape. This particular night painting poses a paradox of the concomitant feelings of cosiness and threat through the glimmer of the lit windows in relation to the reversed, ghostly flag and invites considerations of the complexities of current politics. All painting is made through applying physical layers onto a surface, is accretive and evolves out of the viscosity and liquidity of the paint. What is always at stake in representational painting is the tension between the materiality of substance and its metaphor. I speculate whether and how the practice of painting might be employed in an affective understanding of place.
Judith Tucker studied at the Ruskin School of Art, University of Oxford 1978 – 1981 and at the University of Leeds 1997 -2002 where she has been now senior lecturer in the School of Design since 2006. She has exhibited widely both in the UK and abroad. Recent exhibition venues include Yantai, Nanjing and Tianjin in China, Cambridge, London, Brno, Czech Republic, Vienna, Austria, Minneapolis USA and Virginia USA, as well as regional galleries throughout the UK. In addition to being an artist she spends part of her time at the University of Leeds where she is Senior Lecturer. She is co-convener of the Land2 and of Mapping Spectral Traces networks and is part of contemporary british painting, a new platform for contemporary painting in the UK.