The production of visual culture is often born of the intangible angst of its creator whether a melancholic of the sixteenth century or an existentialist betrayed by post war Europe the creative urge of individuals map the societies before them. Jude’s photographic work is within such a canon.
Jude’s love of photography developed when she was nine during the drama of being abandoned by her mother. As the action of her mother’s intention unfolded Jude grasped a pile of family photos; these became the window to her unlived life while growing up.
Her desire to document and record the life around her, via photography, has been a constant back drop to her being; while fulfilling the social and financial necessities of life via twenty years as a commercial consultant within the television industry, bringing up a family and constantly questioning her environment.
It was a photograph of mountain biking which endorsed Jude’s constant snapping as metered photography. The shot was accepted by a magazine encouraging Jude to apply for the coveted Magnum commercial practice course. She was accepted out of a global application pool of hundreds and clarity descended upon her life long obsession with photography.
Jude has progressed since then to respect and exploit her vision as a photographic flaneur weaving a palimpsest in her documentary work where insightful glimpses of unseen worlds allows access to both the documented subject and the photographer. For Jude the production of visual culture puts…