I paint to make real my unconscious thoughts and imaginings, to bridge the known and the unknown, the material and the spiritual, the organic and the inorganic nature of life, in order to bring a wholeness and unity to my expression and to bring forth beauty and awareness and deeper levels than I can know from my ordinary mind and consciousness.

My work is about the organic quality of life, the concepts of energy and matter, space and density, and the duality of spirit and form.  I paint using “intuitive” process painting, to discover and explore, and express the creative energy within.   This is painting not to produce an expected result or a particular product, but just to be in the moment of expression, as a way for discovery and exploration of creativity coming from the stillness.  

My intention for the work is that it connect with others at the deepest level of feeling, to bring awareness and consciousness to our being, and in this process, to bring healing and light and love.


Judith Forst studied art at UCLA, American University, the Corcoran School of Art, and the Torpedo Factory Art School.  She was the Executive Director of The Greater Reston Arts Center.  Currently she is a practicing artist, teacher, and life-long student.



EDUCATION

American University, Washington, D.C., (studies with Stanley Lewis, Don Kimes, Ron Haynie, and Deborah Kahn)
Corcoran School of Art, Washington, D.C.
Penland School of Crafts, Penland, North Carolina
DeCordova Museum, Lincoln, Massachusetts
University of California, Los Angeles
 
 
ART-RELATED EXPERIENCES
 
Greater Reston Arts Center (GRACE), Executive Director, 1975-1980, 1991-1995
Art Sites Six, First Regional Biennial Exhibition, Curator for GRACE, 1994
Northern Virginia Fine Arts Festival, Cofounder, 1992
Cultural Alliance of Greater Washington, Board of Directors, 1978-1980
 
 
EXHIBITIONS 

Greater Reston Arts Center, "Conflict", April 4 - May 3, 2008
Arlington Arts Center, “Deja Vu”, January 24 - March 18, 2006 
Joann Rose Gallery, “Visual Dialogue”, Group exhibition, November 2 - December 5, 2004, Reston, Virginia
Greater Reston Arts Center, Poets and Painters, December 2002
Arlington Arts Center, 2002 All Media Juried Exhibition; Juror, Claudia Gould,Executive Director, Institute of Contemporary Art, Philadelphia
Creative Crafts Council, 12th Biennial Exhibition, Torpedo Factory Art Center, Alexandria, Virginia
Potomac Craftsmen Exhibition, The Textile Museum, Washington, DC
Greater Reston Arts Center, Reston, Virginia
 
 
TEACHING
 
Since 2001 I have been teaching “process painting” classes, based on the work of Michele Cassou.  My classes are called “Intuitive Painting”, about painting as a means for self-expression, moving through creative blocks, finding your authentic voice and experiencing the joy of painting.  This is painting not to produce a result, a product or to learn a technique.  It is the pure expression of self, the process of creating. 
 
 
 

 

 

RECENT WORK
 
"Conflict"
Greater Reston Art Center
April 4 - May 3, 2008

The subject of conflict seems to be an underlying thread in many of my paintings, not so much through personal experience but as the undercurrent of life -- like breathing in the pain, sadness and fear in the world and breathing out a painting that incorporates those feelings. This process helps heal the emotions as the energy passes through me and onto the paper. 

From the GRACE Press Release: 

Reston, VA – The Greater Reston Arts Center (GRACE) is pleased to present CONFLICT
featuring six artists whose work ranges from personal introspection to political statement. The exhibition explores how artists use conflict as a catalyst in their work.
           
CONFLICT
is based on the premise that discordance is an inherent and even necessary part of all art-making. Visual artists use problems and dilemmas to begin their art making just as improvisational actors shape performances by inventing problems and resolving them through drama. In the artist’s struggle to make something out of nothing, conflict is a natural part of the process.

Judith Forst creates dense tempera paintings that resemble aboriginal art with flat simplified color, mythical creatures, erotica, and violent subtexts. Her vividly colored works derive from an intuitive process that by-passes aesthetic decision-making in favor of un-filtered images drawn directly from the psyche’s underworld. Forst’s work is not about specific events but it does speak to the spiritual and psychological effects of violence on our collective wellbeing.



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