Hettie Judah on Tamsin Morse from 'A Gate of Horns; Myths of Resistence, Symbols of Defiance' at Carl Freedman Gallery, 2025

'Aristotles' Elpis; A Painting About Hope'

Currently on Show at Sun Gallery, Seould; Elpis was the only spirit left in Pandoras Jar and was the spirit of Hope. Aristotle describes Hope as intrinsic to man, both good and bad; it allows us to keep surviving, but also to endure the most terrible sufferings. This painting uses as metaphor the relsease of baby turtles overlooking the flaw of bringing your dog to the beach whilst doing so.

'Release of The Genies; A Modern Hydra'

A Genie is a quick fixer without thinking too deeply about the consequences of granting the crowd pleasing wish. In a current climate it seems there are several of these on the world stage whose egos are fighting for supremacy. In mythology, Hydras head would grow two more every time Hercules severed one. The juxtaposition against a backdrop of destruction hints at the eternal circle of conflict and the fragility of peace on the backdrop of powerful egos.

Detail 'Release of The Genies; A Modern Hydra'

Detail 'Release of The Genies; A Modern Hydra'

Detail 'Release of The Genies; A Modern Hydra'

Detail 'Release of The Genies; A Modern Hydra'

Detail 'Release of The Genies; A Modern Hydra'

Interview for 'The Tagli' In the Studio, 2025

'A Painting About the Importance of Attire'

In 1943, 35 orphan girls died in a fire in Cavan because the nuns (who escaped) told them they would be disgraced if they left the burning orphanage in their nighties. They stayed and burnt to death. I add in here a reference to Bianca Censori and her naked dressing; the conflict of consent or control over body exposure, and the hypocrisy of nuns dressing girls to look 'pretty' to get more money during Confirmation

Detail 'A Painting About the Importance of Attire'

Detail 'A Painting About the Importance of Attire'

Detail 'A Painting About the Importance of Attire'

'Monkey Business'

A small paintg, Oil on Canvas, 40xm x 25cm

'A Making of Legends; Pegasus' Dressing Room' 1.78m x 1.4m

Appearances can be deceptive - the making of Pegasus to the detriment of a swan. We wonder how Pegasus will survive the Wind Turbines

'A Making of Legends; Pegasus' Dressing Room'

Detail

'Shifting the Dogma' 2.2m x 1.86m Oil on Canvas

Three dramatic angels are being bricked in as they pass to the other side, which is full of reality and disaster; a British street of abandonment, heralded by a goddess like character who holds a bird.

'Blaaa Blaaa Blaaa; A Painting About The Art of Escaping Conversation' 2.2m x 1.86m Oil on Canvas

When people go ON andON and On and ON and you dream of riding a chariot up a giants cats arse just to escape.

'A painting about Burden' 1.86m x 1.4m

Playing on the role of burden, the oxen is lumped with a woman who reaches for the golden apple. The woman is extra heavy, but she doesn't care as she is having a bit of time out.

Detail of: 'Pegasus' Dressing Room'

Appearances can be deceptive - the making of Pegasus to the detriment of a swan. We wonder how Pegasus will survive the Wind Turbines

Pegasus Detail 1.jpg

Taming of the Beast

45cm x 30cm oil on canvas

Showboat

1.4m x 80cm Oil on Canvas. Again, exploring moral conflicts, this painting emerged from the news stories of the disastrous flight from Afghanistan which were overridden in some media by the quandry of saving some cats and dog. The saving of these animals was to somehow symbolise human compassion and civilisation, but at the expense of de-valuing human life.

Fools Gold

‘Fools Gold’ oil on canvas 40cm x 20cm so a small piece. Lots of small pieces on the go at the moment next to a giant epic one which is probably going to take half the year. It takes a lot of sociolinguistic not to look at work when it’s on your mind, but it’s best to turn it around and let it dry and see it fresh for me, during the stages of working when I do a lot of layering.

The Draw of Aldebergh

34 x 20cm. Oil on canvas. Made after a recent trip to Suffolk to Aldeburgh. Actually, to be fair, the power station is Sizewell, and work on reactor 3 is just beginning. My eldest so. is fascinated with nuclear power and can actually explain it (I think), so we spent a fair bit of time on the beautiful beach at Sizewell. As ever, my subject matter is contradictions and confusions and me trying to figure out what all this is about - where rules actually make sense and demonstrate consistency. Aldebergh and nearby coastal towns are absolutely train set model villages and the price tag reflects this, yet Sizewell looms on the horizon like a futuristic menace. We always associate nuclear reactors with something we don’t want to live near, to wastelands and forgotten parts of the country, but this really isn’t true. We live alongside all this stuff, just often not so visually dominant as a nuclear power station, whose presence doesn’t seem to inhibit house prices. I’m glad of this. I’m glad that there appears to be some equality in where such places are built as we tend to think only those without power and influence get these places dumped on their doorstep. I find the place intriguing and fascinating and quite beautiful. It is, after all, magic. And I can see the wind farms on the horizon … so this painting explores the perceived toxicity of such environments.. truth or concept?