Judy Bird

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Recording the Gaps, 2010 Silkscreen, Interactive Scroll, Vellum, Pvc, Pipe, Found And Wood Construction 36 X 35 X 22 © Judy Bird
Some Memories Are Better Left Behind, 2008 Silkscreen, Photo Intaglio, Edition 15, 2 Ap 26” X 12 ” © Judy Bird
Bedside Manner, 2010 Plexiglas Drypoint Multiple Plates, Paper Arches Cover, Ed Of 3
Yellow Nurse, 2010 Plexiglas Drypoint Multiple Plates Paper, Arches Cover 12" X 8" © Judy Bird
Call Them, 2010 Plexiglas Drypoint Multiple Plates Paper, Arches Cover 12” X 8”
Detail of scroll, 2010 Silkscreen Vellum 2 Layers 15 Feet Each © Judy Bird
Neural Combustion, 2011 Woodcut © copyright Judy Bird 2011 2012
Woodcut © copyright Judy Bird 2011 2012
Bee Goddess, 2012 Woodcut © copyright Judy Bird 2012
Neural Combustion Woodcut Print © Judy Bird 2012
Quick Facts
Lives in
Grass Valley, CA
Works in
Grass Valley, CA
Academy of Art University, San Francisco, MFA Candidate
printmaking/lithography painting, Etching mixed-media mixed-media, figurative, sculpture

Detail of "Recording the Gaps"





Artist Statement

 I am an acquired brain injury survivor. For me, it seems like everything starts with “re”: redo, rewrite, recreate and remind myself that I have relearned many things, and will continue to relearn again and again and again. I rejoice in being able to relive each and every day. Sometimes I forget, though, and I have to remind myself. I struggle, and, therefore, I have to record each step I make in the studio on wall boards in order to manage my various amnesias. Because of this process, my tenacity makes the editions, my intuition and spontaneity creates the variations within my edition.

I chose particular aspects of printmaking for the technical imprint it leaves. I think of each imprint as a copy of an event, a memory. I create forms, of which some are two dimensional and others become hybrids, integrating two-dimensional and nontraditional prints into three-dimensional forms that interact in time and space with the viewer. My rehabilitation worksheets are an important element of my art; the hand written marks over the grid like structures helped me to reclaim my personal and professional life. The struggles, are suggested when the work is formally recorded, each step of the way in editions, in contrast to the freedom of the impulsive, intuitive and spontaneous approach I also enjoy in my hybrid one of a kind forms.

My work is about the mysterious, symbolic language and the intricate connections within the brain that shape memory. I develop and embrace my symbols for their personal and spiritual meanings. I respond to them as my word finding index. Their symbolic meaning guard my symbolic code of what I remember, as well as what escapes my memory. I contrast the delicate cellular and neural images along with my organic autobiographic marks and words. This is then contrasted against a more universal, graphic and iconic visual language.

Some people believe that if an area of the brain has damage, the brain will rewire around the damaged area. Others believe that compensatory strategies become so strong that they help to balance some impairments. Memory holds such power; visual, cellular, muscle, or even the power not to record or recall the event or memory.








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