Judy Hawkins welcomes visitors to her studio by chance or appointment.

her work can now be found online at:

Bluestone Gallery, Amazon Art

artful home

Art Design Consultants, Blink

current shows:

Burlington Airport, Skyway, May 10 until July 10.

Edward Jones, Brattleboro, Vermont - ongoing

recent sales:

• Sale of 12 very large giclee prints for the lobby of the Evanston Hospital, IL, 2015. 
• Two paintings were purchased, 8/12/14 by collectors who live in Israel, adding to two paintings previously bought in Vermont from the artist.
• Random House bought rights to one of Hawkins’ River series paintings which will be published in a book in September written by Benedict Carey, science writer for the New York Times, 2014.
• Painting sold to Brattleboro Memorial Hospital, Vermont, 2014, adding to three other artworks previously purchased from the artist.
• Painting from new Birch Tree series, sold to a collector in Connecticut, 2014.
• A large oil painting in the River Series, sold to a bank vice president in San Francisco for her private collection, 2014.
• Two paintings sold to a collector in Boston, 2014.
• A large giclee print has been purchased by a hospital ER waiting room in Chicago, Illinois, 2013.
• Painting sold to a bank in Wisconsin, 2013.
• Large giclee prints have been purchased by NuMark Credit Union, Tinley, Illinois, 2013.
• A large painting has been purchased by a collector in Stowe, Vermont, 2013.
• Two paintings sold to collectors with a second home in Chesterfield, New Hampshire, 2013.
• Meditech Corporation, Massachusetts, 14 paintings in permanent collection.
• Corum, Mabie, Cook, Prodan, Angell, & Secrest Law Offices, Brattleboro, Vermont
  

Judy's original paintings are in collections throughout the country.

galleries:

Bluestone Gallery, Philadelphia, Pennsylvania
Corporate Art Group, Chicago, Illinois
Eye Level Art Services, Wisconsin
The Guild, Artful Home

• Giclee Fine Art Prints Available
• Artist Printed fine Art Greeting Cards

reviews:

Vibrant Landscapes and Vivid Sky Paintings by Judy Hawkins Empty Easel, the online art magazine Published Mar. 30th 2011 by Cassie Behle If oil painter Judy Hawkins doesn’t like the weather in Vermont, she doesn’t just “wait a moment.” Instead, she creates her own atmosphere on canvas through the use of gestural brushwork and colorful imagination. Since the early ’60s, Judy took to painting the ever-evolving New England landscape of Vermont, and uses her rustic adobe house in Big Bend Texas for an additional touch of Southern inspiration. As her landscapes change, so does Judy’s application of color and composition. She works freely, using the paint’s occasional, accidental placement to guide her way toward a piece that is always full of unexpected color and vibrancy. The pink and white clouds in Judy’s painting, Fall Spice, [shown right] are formed with soft precision, cloaking the thunderheads and creating a gentle harmony with the cheerful blue sky and green prairie in the background. I immediately get the sense of a looming thunderstorm through Judy’s startling use of black shadows on the ground below, which create the sensation that the clouds really are rolling swiftly across the plains. Similar colors in the clouds and their respective shadows on the ground create balance to the entire piece. Blue, black and crimson tones frame the bright hues found in the center of the painting, making me sure that I’m just seconds away from being caught in a downpour. With Edge of the Woods, [left] I’m automatically transported into the movie, Avatar. If only I could struggle through the forest’s “jail cell” of vertical twigs to the fairytale landscape that lies beyond. The prominent twigs contrast greatly with the effervescent hues blending lazily in the background, giving a unique perspective to the piece. What I enjoy the most about this piece is the surprising use of neon yellow to accentuate twigs that appear close enough to reach out and grab. Last but not least Judy’s use of spontaneous color and composition works just as well in this slightly more calculated painting, Studio Reflection [right]. Years of painting experience are seen in the ripples, reflections and fluid hues found in the water, and as each brushstroke pinpoints a different ripple, flower,

EXHIBIT: Transformation: Sky and Water recent paintings by Judy Hawkins. Furchgott Sourdiffe Gallery, Shelburne. May 2006 Review by Mark Awodey, Seven Days paper, Burlington, Vermont Painting: Lauren's View, 36 x 36   Putney artist Judy Hawkins pursues two themes, one of which is water; Hawkins is a painter of clouds, rivers and reflections dancing over aquatic surfaces. Her second, less obvious, theme is the expressive power of painting. As she reinterprets the natural world, Hawkins paints with supreme confidence, a mature yet evolving personal aesthetic, and a total mastery of color. Several of the 18 Hawkins paintings now on view at the Furchgott Sourdiffe Gallery in Shelburne are veritable kaleidoscopes. Nature is a point of departure in Hawkins' best works. But in a few others, such as "Morning Mist," the landscape seems like little more than a motif. The most conservative landscape in the show, Hawkins' 30-by-24-inch marshland morning, with scruffy brown grasses, gray skies and silvery water, is virtually colorless in both senses of the word. But its excessive circumspection sets it apart. While 36-by-24-inch "Evaporation" relies on a similar misty morning palette, it's in a dynamic composition of angled furrows, curving slightly over a subtle rise in the field at left. A triangle of dark values unfolds in the upper right of the horizontal piece. That chromatic distance between light and dark imparts a measure of drama that "Morning Mist" lacks. All of Hawkins paintings are structurally robust. When her colors become equally exciting, the paintings truly sing. The 2-by-2-foot square "River Setback" transitions from calm naturalistic hues to expressive warm colors in a topsy-turvy way. Naturalistic skies — cerulean blue and puffy white clouds — lounge as a placid reflection in the bottom third of the canvas, but as the eye travels upward to the sky itself, the local color gives way to dark turquoise, yellow green, and, ultimately, fiery reds and orange. As in "Evaporation," "River Setback" has a dark and murky upper right hand corner that provides stark contrast between light and dark values. Hawkins takes risks with hues and execution to the point of being idiosyncratic in several pieces that focus on rushing water. The results are superb. Her 24-by-30-inch oil "Wave" has foamy dots and curls of white, while squiggles of bright colors create a cacophony of brilliant hues. Warmer colors are located in the center of the canvas, as dark corners frame the wave. Hawkins' tumultuous waters seem influenced in equal measure by Asian landscapes and Post-Impressionism. If those are among her influences, however, both sources have been perfectly synchronized to invent a completely original personal approach. "Ripples and Splashes" has short squiggles of white floating over churning patches of red-orange and Prussian blue. Hawkins painted the 24-by-30-inch work with distinct layers of color, giving her rapids wonderful depth. She also varies the intensity of her paint, with differing degrees of opacity in the way the colors are laid down. The 30-by-30 inch "Lauren's View" is in the same class of abstractions as "Ripples and Splashes" and "Wave," but several stones under the rapids shape the flow of their stream. Eddies and spray interact with the rocks, as water rushes upon them on all sides. Hawkins used variations of blue in designing the composition, but a few red patches on the nearly black stones impart calmness — a lack of movement —suggesting steady islands in the stream. If Hawkins is producing two bodies of work simultaneously — one as conservative as "Morning Mist" and the other as almost wholly abstract as "Ripples and Splashes" — it wouldn't be the first time an artist fished with two kinds of bait. There are no dates ascribed to the paintings, but in her artist's statement Hawkins notes: "My most recent paintings explore intimate views of water, trying to capture its multi-dimensions . . . from stream bottom through layers of water, to the surface tension, flow and water splashes, to reflections in the water." She adds, "There are endless possibilities." This show certainly proves that point.