“I like bad drawers, or I like when there are vulnerable elements in a drawing,” says artist Judit Kristensen. From Umeå in the north of Sweden but currently based in Copenhagen, Judit has tried to hang on to some of the less-than-perfect technical details from when she first started working in this style two years ago. “ I guess time has made me a better draftsman – for better and for worse. I prefer empathetic over perfection, and you cant really be voluntarily bad to make a drawing vulnerable. I think that would have an opposite effect.”
Much of Judit’s portfolio is made up of meditative sketches of friends or wistful self-portraits. “I think a lot of time I use drawing myself to turn something self-centred into something even more so,” says Judit self-deprecatingly. But without the expectations of her subjects and the pressure on her to represent how they see themselves, Judit is able to draw more honestly and experiment more with form and expression.
Although she has worked with other materials, it’s in coloured pencil that Judit feels most at home. Whereas other media make Judit feel like a “technician, where you plan and this motivates you to do the work”, the cumulative nature of pencils – with its layering of colours – allows her to feel like she’s amending something that already exists, honing a work until she’s brought it to state of completion. “The pace of drawing enables me to feel motivated to keep working on a piece, and it gives me relief when I’m done,” she explains.
In fact a visibly slow and steady pace – especially in drawings – is something Judit really appreciates in other peoples’ work. “I feel like the pace makes the artist more present in drawings then in other forms of art practice, and that makes drawings extra magical for me.”
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