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Judy Moonelis and Marilyn Levine

Judy Moonelis is a well educated ceramic artist who works on figurative sculptures, and has had work represented in many locations like New York, San Francisco, Philadelphia, and in other major public collections. Judy Moonelis is a sculptor who lives and maintains a studio in New York City. Her work has been exhibited widely, in numerous solo and group exhibitions nationally and internationally. She is touring from 2003 to 2005 in Rome, to Chicago, and New Jersey, where she will display some of her different art collections.

Moonelis says, “ the emotive implications of anatomical study inform much of my sculptural work. Medical illustrations and anatomical modes are resources along with the visually seductive scientific methods of collecting, ordering, and cross-referencing materials” (arts edu).

Her previous series include Memory portraits which she displayed from 1996 to 1998, this series explored the nature of human memory. She made the link between our memory and our senses in these works of art. Another series she had made was the Listening Wall in 1997, this considered the elements of hearing. Her most recent pieces of art is base


d on breath, “The bronchial tree, a central structure in the human respiratory system, resembles an inverted tree or botanical root, branching forms essential to life,” (arts edu) she was working on the most effective way to represent the human characteristic of breath. Touch Portraits where her next project which involved the sense of touch, these were displayed from 1999 to 2000, “these were a current body of sculptural portraits based on the sense of touch, part on an ongoing interest in human senses” (John Elder Gallery). For these works involved, “broad referencing and cognitive research present the groundwork for intuitive and subjective thinking and the development of these works, and result in a fusion of the eccentric and the rational” (John Elder Gallery). The Touch Portraits included small portraits made out of porcelain posted on five to seven foot copper pipe. The portraits would include fine wire protruding from behind the heads, and the heads were hollow and showed, “the microscopic internal anatomy is made large and juxtaposed against the external portraits which were inversely, are small” (John Elder Gallery). These

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Approximate Word count = 781
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