To Life! The Human Figure in Judith Donna Fox’s L’Chaim
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On the evening of August 2nd, I had the pleasure of attending the opening reception to the Julia Martin Gallery’s newest exhibition: L’Chaim by Judith Donna Fox. This is her first solo exhibition in Nashville, which she moved to in 2021. Described as, “A celebration of the human figure through sculpture and line,” Fox’s works not only capture the vulnerability and rawness of the human body (and being) at its most exposed, but they also dare the viewers to experience this moment of sensitivity together. During my visit, I had the opportunity to meet and speak with Fox, as well as other fellow Nashville arts lovers, who all had positive and supportive things to say about the exhibit and scene.
The exhibition itself consists of several sculptures and many figure drawings, most of which Fox had in her collection for years. The figure drawings, titled “Life Drawing #1-#26,” or additionally “A-Y,” are exactly that: drawings which Fox had amassed over years of participating in figure drawing groups and art classes. Each is unique, with models posed in different positions, from different perspectives, and with different expressions. All but one of her works are drawn with lithography crayon, which is typical of the style, but is especially effective here in conveying a sense of universality and relatability between each work and the viewer. In both her drawings where the model has a more robust figure and definition, such as Life Drawings #2, #17, or #21, and the fuzzier looks of Life Drawing #14 or I, one can see themselves. A moment. The solid black lines used to define the outer curves of the legs, arms, and torso, are contrasted by smoky black shading for the specific features of an individual body, representing motion. These figures are very much alive; Life Drawing #8 is a particularly strong example of this. Colored with dark turquoise and earthy green ink and positioned in an enclosed sitting position, a feeling of comfort streams through the work; I would not be surprised to find influence from the abstract modernist style in her other work. Her claywork in this gallery displays much of the same stark contrast as her drawings. Eggplant Torso and Bird are two polished and clean clay works featured, both bulbous and round frames of a torso and bird, respectively. Where Eggplant Torso leans toward the viewer with a sort of swept, but confident posture. Bird is similarly postured, though its wings are tucked in, conveying a gentler and more curious spirit. Figure Sketch and Beseeching Hands are quite unlike the previously mentioned works, in that you can visually see how each piece came together through markings and lines in the clay. These natural looks are surely reflective of their subject of the human body, which displays its wear in similar ways. Man on Wheels is a personal favorite. The human body stretched and elongated over (and in) a set of two wheels serves as remarkable imagery for the trudge that we feel mentally and physically, throughout our lives.
While the activity of figure drawing is often considered simply an academic exercise, it is different for Fox, and that translates through her work. When I asked her how the idea for the exhibition came about, she expressed how it truly culminated during a visit from Julia Martin, founder of the Julia Martin Gallery and Fox’s friend. “Julia was the real push,” she said. She explained to me how it feels we are at a time when it is so keenly important to be able to communicate with each other, but can’t seem to, and how she wanted to encourage genuine conversation between people. What better way than to curate an exhibition centered around as exposed a subject as the human body at its most vulnerable state? And it was successful. Throughout the evening, I had conversations with fellow visitors about Fox’s art and the importance of having a creative outlet (shoutout to Helen and Tim!!).
It was during Fox and I’s conversation that I noticed a commonality throughout the entire art community of Nashville. It is a community. A theme that is apparent in all MCR’s coverage of Nashville art. Unlike the community of larger cities like or anywhere else, Nashville is a place where all the artists know each other and want to support each other and want for the future generation to know that it is possible to succeed and make a living IN art IN a place like Nashville. None better to strengthen my point than Virgina Griswold, the executive director of Buchanan Arts, a Nashville nonprofit community arts and arts education center, who I also had the pleasure of meeting with. A friend of Fox, Griswold told me how approachable and welcoming the arts community is. “I adored her [Fox] work for some time and was surprised when she responded to me reaching out,” she told me. Griswold also mentioned exciting news about future events that Buchanan Arts has planned, so keep an eye out for them!
L’Chaim will be on display until August 30th. Make your way to the Julia Martin Gallery and enjoy local art. And the human figure. And if Julia’s dog is there, maybe say “Hi!” For me?
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Rian Dennis is a recent BA in Music and Spanish graduate from MTSU. He enjoys listening to music and watching movies, in his free time, and also has an interest in fashion. He is excited to document contemporary art and music history for the Music City Review!
