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Judy Varga

Vancouver, B.C.
(604) 570-0555
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by Judy Varga




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Through hallucination and imagination, one can create a realism that pierces right to the core of the sensual, the this—worldly. Rupturing the surface of things, the habitual perception, and filtering through layers of meaning and form, one can create a realism that defies complacent realism.

My work seems to depend on a sense of dislocation vis a vis the comfortable, habitual. way of perceiving. In order to pursue this sense, it is necessary to descend into the chaos of unmitigated experience with all its crosscurrents, illusions, expanding and contracting boundaries, and raw terror, power, and beauty. The element of material tension in transmuted matter (a solid split open to reveal a liquid core mound as body, body as vessel) suggests the dislocation and dissolution of the boundaries between artifact and nature, between object and place.

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The mounds, in their apparent orbit on a vertical/horizontal axis, are intimately bound with the generating forces of nature. They are the loci around which the elements dance, spin, overlap, overturn, link and scatter. The water and the wind are at once form and content, the container and the contained. As motive powers, the bodies of water and wind wrap themselves around the mounds and the mounds spin the water/wind around their axes. The nexus, which binds the three mounds with the water and is primarily connected with the actions of the wind on the water exists at the equator of each mound the edge of reflection, of echo.

earthwork, permanent (temporal)

recharge basin (managed by the Dept. of Transportation, NY) Old Westbury, NY.

dimensions:basin 200' x 400' x 35'deep mounds — 38' diameter x 12' high at center

(size and shape of mounds and water level vary according to.climatic and seasonal changes)

materials: ochre colored coarse gravel, medium grained sand, fine sand. (heaviest/largest grained material is at the base of the mounds, lightest/smallest grained material is on top.)



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