Judy Major-Girardin (BFA / MFA) teaches in the School of the Arts at McMaster University and is currently Co-Chair of the Cambridge Sculpture Garden and Board member of the Creative Enterprise Enabling Committee for the Region of Waterloo.
Her work has been exhibited in solo and group exhibitions throughout Canada and the U.S.A. including: Ariel Gallery, N.Y.C.; the Staten Island Institute of Arts and Science; the Firehouse Gallery in Georgia, the Maralyn Wilson Gallery in Birmingham, the Susan Moody Gallery of Art, Tuscaloosa, Alabama; the Bloch Gallery of Art, Montevallo, Alabama; Malone Gallery, Troy University, Alabama; Kitchener/Waterloo Public Art Gallery; the Mississauga Civic Centre; the Glenhyrst Art Gallery of Brant, Brantford; the Cambridge Public Gallery; the McMaster Museum of Art, the Transit Gallery, Hamilton; the Collingwood Art Centre; ART 11, Montreal; and in Toronto at Eastern Front Gallery, Pauline McGibbon Centre, Jane Mallet Theatre, University of Toronto Art Centre. Her next solo show is scheduled at the Burlington Art Centre in 2013.
Prints and paintings have been included in juried exhibitions in Japan, Taiwan, New York, California, Ohio, Illinois, South Dakota, Vancouver, Montreal and Toronto. Her work is currently in a National Touring Print exhibition that has traveled to Windsor, Chatham, the University of Toronto, the University of Western Ontario, Whitehorse, Sarnia, Sudbury and Cape Breton. She has been represented by Shayne Gallery of Montreal, the Miriam Perlman Gallery in Chicago and Steiner Corporate Art Consultants and Gallery Moos in Toronto. Girardin has participated in artist residencies in Newfoundland, Quebec and Alabama and regularly provides artist talks and conference presentations. She will exhibit in the American Print Alliance exhibition at Columbus State University in Georgia in the spring.
I integrate print-based media with painting in my studio practice and use printmaking approaches as a strategy for examining the potential of recycled imagery. The resulting body of work represents variation within a limited set of motifs rather than identical prints within a traditional print edition. I am actively engaged in using processes that offer a lower negative impact on the environment and the body and I select materials for their low toxicity, avoiding the use of Volatile Organic Compounds or acids.
My imagery fluctuates between abstraction and recognizable forms derived from observing, drawing and photographing wetland areas. Visually, these spaces provide a continually changing source of optical information related to repetition, variation and pattern that connect with my interests in examining permutations within a defined idea. The fluid pond surface is both recognizable and abstract inviting a broad range of associations that are both dynamic and contemplative.
In addition to the optical possibilities offered by the pond surface, I believe that the wetland invites associations with sustainability. We once viewed wetlands as inaccessible, unproductive and insect infested areas, but we now understand the unique contribution of wetlands as biologically diverse, productive, filtering, purification and flood management systems and significant players in the balance of hydrology and ecology. Significant portions of wetlands across North America have been converted to urban, agricultural and industrial development making the conservation of wetlands a current topic of concern.