not my father
not my father
perfect day
perfect day

beeswax, pigment on watercolour paper, framed framed approx. 26 x 20 cm

troth
troth

beeswax, pigment on watercolour paper. Framed approx 35 x 27 cm

two generations
two generations

beeswax, pigment on watercolour paper, framed.approx 15 x 12 cm

first race
first race

beeswax, pigment on watercolour paper, framed. approx 18 x 23 cm

in a foreign land
in a foreign land

beeswax, pigment on watercolour paper, framed.

siblings
siblings

beeswax, pigment on watercolour paper, framed. Framed approx 14 x 18 cm

outside party
outside party

beeswax, pigment on watercolour paper, framed.

looking after Alex
looking after Alex

beeswax, pigment on watercolour paper, framed. Approx 22 x 28 cm

truth and lies and what the camera saw

She told me, that is to say, my mother, the mistress of the very tall tale, told me, that before she met my father she fell in love with a very rich Jewish man whose aged mother strongly disapproved of her, a gentile, so much so that she would disinherit him if they married. So they decided to wait until after his mother had died. My mother, though, tired of waiting and left him.

 

I didn't believe it. 

 

When my grandmother died an album was found, and therein a photograph of my mother and not-my-father in evening dress gazing into each other's eyes - what the camera saw, and the starting point of this body of work.

 

The images are translations of my family albums, physical photograms made in wax of people in absence, preserved, contextless.  Without detail, they show the bare bones of memories, framed in found frames which bring with them their own history and lost memories.  Empty frames abound, signifiers of lost memories, while loose images are on their way to being lost.

 

The larger pictures are an interpretation of my remembering some of the moments caught in those photo albums, the stronger colours an indication of heightened emotion.

jane tudge