A fingering in progress
© Cesar Delgado Wixan

The Creative Process Behind Braun’s Abstract Symmetry

To put it simply, Judith Braun finger paints.

But her work deserves a much clearer explanation.

Judith Braun finger draws.

And she uses her whole body as she draws. She dips her fingers in ground graphite and reaches to strategically smudge perfect black marks that fade to gray. She nimbly dips and smudges until a blank space is transformed with meaningful symmetrical shapes.

Wiggling the graphite-covered middle digit on her right hand, Braun describes her creative process as she discusses her mural “Graphite”: “This piece is using this finger, obviously. It’s a very specific finger!”

She wiggles her left hand and continues, “I can switch to this hand if I’m on an abrasive wall if I needed to, but I’ll still go to that finger. They’re not just random. Every finger is really different and very specific. The pressure is very specific.”

Watch as she sweeps pattern and shadow onto a wall to create her mural “Diamond Dust” at the Chrysler Museum of Art in Norfolk, Virginia.

If the video does not display, watch it here.

The Rules

Sixty-six-year-old Braun is a life-long artist. As Judith Weinperson, she had a blossoming art career with edgy pieces that were featured in prominent New York exhibits. Then a series of life events, including a divorce, temporarily nudged her from the art scene.

In 2003, she realized she needed to switch her focus back to where she belonged: art.

Braun shares how big that decision was. “My one priority would be to make art and show it. That was the goal, to show one more time. This may sound simple, but at 56 years old it was a huge challenge for me to try to re-enter the ever-youthful art world. To start with, I had to make a whole new body of work, but I’d also have to make all new friends!”

And during her reacquaintance with the art world, she established three rules for her new body of work:

• graphite or charcoal
• abstraction
• symmetry.

“With these simple rules,” Braun explains, “there are endless possibilities, and therefore endless, endless surprises.”

F-R-1-1
Drawn on paper with fingers dipped in charcoal, 18″ x 25″, 2012
© Judith Braun

Carbon

Why the carbon-based medium? Braun clarifies, “I like the black and white. I like the fact that it is just black and white, and yet there are infinite possibilities. . .”

She also appreciates the carbon structure, which, under the right conditions can become a diamond. So she refers to the black powder as “diamond dust.”

As she illustrates in this video, Braun grinds graphite in a coffee grinder and then uses the fine powder as her “paint.”

Fingering #10
Drawn on wall with fingers dipped in charcoal, 10′ x 12′, 2012
“Pressing Matter,” 3 person show at Parallel Art Space, NYC
© Judith Braun

Symmetry and Abstraction

Braun explains her interest in symmetry: “Symmetry is the most ubiquitous form in the universe.” She continues, “When I put abstraction and symmetry together they offered a way to tap into this underlying function of the universe. Random possibilities become probabilities, carefully realized drawings. There is no end to the possibilities to choose from.”

Graphite
Drawn with fingers dipped in graphite and charcoal on two walls 20′ x 17′ each,
December 9, 2012–June 2, 2013
Indianapolis Museum of Art
© Judith Braun

The Woman Behind the Carbon

In 2010, Braun made a video to celebrate her birthday. In it she explains, “This past year I was on the reality TV show, ‘Work of Art.’ I, of course, was cast as the older artist, which I knew, expected.”

Braun continues, “I didn’t know I was being cast as the crazy, older woman. So I am crazy and older. Actually I find them both to be quite honorable identities.”

You can watch the video she submitted to audition for the show here.

A More Serious Side

In 2012, during preparations for the “Graphite” mural, Braun learned she had breast cancer.

Her symmetrical, abstract art requires careful planning. Following her normal creative process, Braun had created meticulous guidelines for this mural by getting photos of the space and working through the piece, detail by detail.

The shocking news inspired her to abandon her prepared plans.

“I kept thinking some day I’ll do one where I don’t plan it. This is the time,” Braun shares. “I find out I have cancer. That wasn’t planned. So I thought, ‘Let me just go for it this time.'”

Day 7 of work on “Graphite”
Indianapolis Museum of Art, December 9, 2012-June 2, 2013
© Judith Braun

After completing the mural, Braun returned home for a double mastectomy. But first, in typical Braun style, she invited friends to a goodbye party for her breasts.

Oh, I See

Judith Braun’s creative process, one that uses just her fingers to turn black dust into detailed landscapes and geometric forms full of movement, is impressive.

But, behind that art, Oh, I see a woman with a rock-hard confident individuality and laser-clear direction, garnished with a colorful, twinkling humor. I am inspired!

And Judith Braun has obviously benefitted from her “Oh, I see” moments along the way. She says:

“There’s a lot of suffering in the world. I understand that. I’m suffering, but you get to that point—it’s a philosophical thing—you choose to celebrate and be thankful for what you have in the universe. That’s the way it is. You have to look at what is working.”

You can view and buy Braun’s work on her Web site.

And click here for a virtual showing of her solo exhibition at Joe Sheftel Gallery in New York.

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