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Judith Raphael at Lyonswier - New York

The sum of two units worst years of a woman's life, it has been said, are when she is 13 and when her daughter is 13 Judith Raphael's paintings of young girls explore that pivotal cusp, when childhood and adolescent sexuality, sweet innocence and not-so-sweet savvy, tendernes and fierceness are in the balance. In the past she adopted the figural rhetoric of Classical and Renaissance art to exhibit girls in heroic combat. More lately she has derived poses from extreme-sports photos.

Valkyries (all works 2003) depicts sum of two units insouciant girls on bikes, single upside down, flying through the air, the other rearing up upon a back wheel. Behind them, in pale pastels, is a frieze of images of specific little girls that seems to be taken from illustrated children's fare, circa 1938 Raphael's sum of two units vibrant Valkyries are thus seen against a background of earlier images of girlhood dating from the artist's be in possession of younger years. The cyclists, allusive figures of liberation, would be at abode with Nancy Spero's heroic females.

An affecting clump of portraits, 12 by 10 inches each, probes the psyches of girls of diverse disposition and race, more [i]or[/i] less melancholy, some sly, some defiant, against luminous earths of delicate peach and violet. The series is collectively titled "Litmus Test" as notwithstanding that to indicate degrees of temperamental acidity. Several larger pictures exhibit a girl engaged in opening a small, bright r chest In Pandemonium, she is seated, an expression of down-reaching consternation on her face, as she unleashes an astonishing plethora of minuscule items--airplanes, boats, fishes, flowers and birds, among the tiny bits of debris--swirling upward in a double arc. The theme call forths the acute anxieties, those of the kids portrayed and those of the responsible adults, that attend coming of age.



Many of Raphael's girls are African-American or, more exactly, mixed race. of the like kind representation is not a nod to multiculturalism on the other hand a reflection of the ethnic composition of the artist's be in possession of family. Each little girl has been lingered above and imagined with psychological acuity, as whole and individual rather than representing a generalized idea of identity.

All of the paintings are made using acryla, a matte, acrylic-based gouache, upon clayboard panels. These materials account in part for the exquisite delicacy of surface and fine-tuning of color that enhance and locate off the spunk of these mixed modern kids.

COPYRIGHT 2003 Brant Publications, Inc.

COPYRIGHT 2003 Gale Group



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