My work since MA studies in 2000 has been underpinned by an exploration of the philosophy and practice of geometry. Recent work has expanded boundaries of approach and mediums, using the grid in both active and passive relationship. Occasional involvement of text may occur at both an arbitrary and a specific level where fresh resonances may then be found. I explore spatial aspects both on and within a surface leading to 2 and 3D work.
When I first started studying geometric principles on an M.A. (year 2000), the work was very analytical. It was after a trip to Grizedale Sculpture Park in the Lake District that an emotive personal element appeared. I found the scenery of Grizedale quite mind blowing and there was a part that had a profound personal effect, the severed trees reminiscent of Paul Nash’s war paintings interacting with the recent loss of my father. He had lost a leg in the war. The experience led to a combining of geometric principles and using my own intuition and experience. The painting ‘Analogue to memory’, that can be seen below, was the first to express this.
(Analogue to Memory, oil on linen 152 x 152cm in Private Collection)
Earlier in the M.A. year I attended a one day seminar entitled ‘Mathematics in Nature’ at the Royal Botanical Gardens in Edinburgh. There I heard mathematicians speak with great passion about their subject and heard that in maths there is an asymmetric symmetry; that wherever you found procreation you always found the golden ratio, about ratios in the human body and other forms of nature. Previously I had been introduced to a book by Robert Lawlor called ‘Sacred Geometry: Philosophy and practice’ as well as some others. But this has been my main source for reference and learning.
I have had to be aware of others use of geometry for meanings that are not my intention. For example, the Masons and some cults, but I have found study of theological and cultural uses fascinating. And that humans seem to have instinctively understood geometry since they evolved!
In my own practice I work in a variety of media and I think an element of play very important. Sometimes I am engrossed in layering with tracings, doing papier mache 2 and 3D pieces, some printmaking. However, when I put oil paint on to a beautifully stretched piece of canvas I sort of feel ‘home’. When young I studied contemporary dance and for me the feel of a sable brush on taut linen or canvas has something that connects me to the feel of movement across a space and geometry has become my tool to express this. To me the choreography of Merce Cunningham was often a beautiful pure maths that I just could see, though did not understand intellectually.
I rarely remember my process and frequently have to retrace my steps to understand how I got somewhere. Imagery in various stages of development around the studio. Sometimes I make a concerted effort in finding a way through with development and other times I will see an energy or rhythm that I wish to proceed with. Often I will set boundaries, with perhaps limited use of colour, or the materials I work with. using perhaps very hard materials that I cannot make easily attractive! I do have to be wary of the seductiveness of paint and colour. In the last few years I have been making use of what I call fractal curves. This is where I take the two proportions of the golden ratio within a certain distance and use these to make curves from a decided point on a line. These curves are not quite symmetric and for me give an extra energy that would not be there if they were. As the geometry of a space develops I let intuition be my guide as to colour and mark making. And continue until some sort of sense is to be had!
Sometimes it takes me a while to decide if a piece of work is finished or not, I think that is because of the emotional involvement that occurs and I have to detach from that.'
Judith Whitehouse November 2020
email: [email protected]
When I first started studying geometric principles on an M.A. (year 2000), the work was very analytical. It was after a trip to Grizedale Sculpture Park in the Lake District that an emotive personal element appeared. I found the scenery of Grizedale quite mind blowing and there was a part that had a profound personal effect, the severed trees reminiscent of Paul Nash’s war paintings interacting with the recent loss of my father. He had lost a leg in the war. The experience led to a combining of geometric principles and using my own intuition and experience. The painting ‘Analogue to memory’, that can be seen below, was the first to express this.
(Analogue to Memory, oil on linen 152 x 152cm in Private Collection)
Earlier in the M.A. year I attended a one day seminar entitled ‘Mathematics in Nature’ at the Royal Botanical Gardens in Edinburgh. There I heard mathematicians speak with great passion about their subject and heard that in maths there is an asymmetric symmetry; that wherever you found procreation you always found the golden ratio, about ratios in the human body and other forms of nature. Previously I had been introduced to a book by Robert Lawlor called ‘Sacred Geometry: Philosophy and practice’ as well as some others. But this has been my main source for reference and learning.
I have had to be aware of others use of geometry for meanings that are not my intention. For example, the Masons and some cults, but I have found study of theological and cultural uses fascinating. And that humans seem to have instinctively understood geometry since they evolved!
In my own practice I work in a variety of media and I think an element of play very important. Sometimes I am engrossed in layering with tracings, doing papier mache 2 and 3D pieces, some printmaking. However, when I put oil paint on to a beautifully stretched piece of canvas I sort of feel ‘home’. When young I studied contemporary dance and for me the feel of a sable brush on taut linen or canvas has something that connects me to the feel of movement across a space and geometry has become my tool to express this. To me the choreography of Merce Cunningham was often a beautiful pure maths that I just could see, though did not understand intellectually.
I rarely remember my process and frequently have to retrace my steps to understand how I got somewhere. Imagery in various stages of development around the studio. Sometimes I make a concerted effort in finding a way through with development and other times I will see an energy or rhythm that I wish to proceed with. Often I will set boundaries, with perhaps limited use of colour, or the materials I work with. using perhaps very hard materials that I cannot make easily attractive! I do have to be wary of the seductiveness of paint and colour. In the last few years I have been making use of what I call fractal curves. This is where I take the two proportions of the golden ratio within a certain distance and use these to make curves from a decided point on a line. These curves are not quite symmetric and for me give an extra energy that would not be there if they were. As the geometry of a space develops I let intuition be my guide as to colour and mark making. And continue until some sort of sense is to be had!
Sometimes it takes me a while to decide if a piece of work is finished or not, I think that is because of the emotional involvement that occurs and I have to detach from that.'
Judith Whitehouse November 2020
email: [email protected]
View of work by Linda Simmonds and Judith Whitehouse at Espacio Gallery, Shoreditch, London 2020
Installation view of 'A fragile little library' plus other by Judith Whitehouse in an exhibition at Morvah Schoolhouse, Cornwall, UK 2019.