Redefining Limits: A Conversation with Judy Millar
By Karlyn De Jongh, Sarah Gold, and Valeria Romagnini
Sarah Gold: At the end of the 1920s, Yervand Kochar initiated discussions about “painting into space.” More recently, the German artists Gotthard Graubner and Katharina Grosse have continued this line of thinking. How did you become interested in space and the painted surface?
Judy Millar: The first works of art that I saw as a child were examples of Maori art. In these works, there was always an intimate connection between the painting or sculpture and the architectural spaces in which they were placed. Painting never took place on a flat surface; instead, it followed the curve of a wooden beam or rafter. Carved figures also had complex relationships between their forms and heavily incised surfaces. Later on, I took an extended trip to Italy, specifically to study the works of the Spatialists. I was very drawn to their ambition to synthesize color, sound, space, movement, and time into a new type of art.
Untitled, 2010. Solvent ink on vinyl, view of installation at the Hamish Morrison Galerie, Berlin.