Judith Pool’s (1991) practice is intuitive and fluid, emerging from self-imposed conditions in which chance plays a significant role. Her work is driven by a process-based approach, where material, gesture, and transformation unfold over time.
Working primarily in painting, she treats paint as a tactile and responsive substance. Colors and forms spread, accumulate, and erode, creating structures that exist between landscape, body, and matter. The resulting works evoke a strong physical presence, inviting sensory and bodily responses, a subtle tension, a sense of unease, or the impulse to come closer and engage with the surface.
Presentation plays a crucial role in her practice. Through scale and spatial arrangement, Pool encourages movement and active viewing, prompting the viewer to shift perspective and physically relate to the work.
Her paintings resist fixed beginnings or endings, instead emphasizing continuity and transformation. The viewer is invited to engage with the process rather than a singular, resolved image.
In recent years, Pool has expanded her practice through larger-scale paintings and works on paper, exploring how different materials and techniques can inform one another. Alongside this, her interest in the shared and collective aspects of making has grown.
For Pool, art is not solely an individual act, but a means of creating connections between material, maker, and viewer.
Working primarily in painting, she treats paint as a tactile and responsive substance. Colors and forms spread, accumulate, and erode, creating structures that exist between landscape, body, and matter. The resulting works evoke a strong physical presence, inviting sensory and bodily responses, a subtle tension, a sense of unease, or the impulse to come closer and engage with the surface.
Presentation plays a crucial role in her practice. Through scale and spatial arrangement, Pool encourages movement and active viewing, prompting the viewer to shift perspective and physically relate to the work.
Her paintings resist fixed beginnings or endings, instead emphasizing continuity and transformation. The viewer is invited to engage with the process rather than a singular, resolved image.
In recent years, Pool has expanded her practice through larger-scale paintings and works on paper, exploring how different materials and techniques can inform one another. Alongside this, her interest in the shared and collective aspects of making has grown.
For Pool, art is not solely an individual act, but a means of creating connections between material, maker, and viewer.