Judy Langille studied art education in school. She is now a full time artist working with fibers to create her own cloth with natural dyes, screen printing and more. Working in a series, she explores new ideas and techniques.
How did you find yourself on an artist’s path? there?
When I was in high school, I began taking art classes. I loved the teachers, and I loved doing the art projects. In the summer before I went to college, I took a drawing class at the Art Students League in New York
While attending the State University at New Paltz in New York State and majored in art education. I learned the fundamentals of art and design, color and composition while I was in undergraduate school. My father was an abstract artist and growing up I was always exposed to art. This was a major influence in my life.
Why textiles? How did you get started?
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As my kids grew up I began to study fabric design, dyeing and printing at the Quilts Surface Design Symposium. It was here that I studied with Ann Johnston and Jan Myers Newbury. At this point I was making one or two quilts a year designed in these workshops. I mostly did this in the summer while I continued to teach in elementary school. I continued to take workshops in the summer at Haystack, although I rarely study with other teachers anymore. The exception has been Elin Noble. I’ve been a full-time artist for the last twenty-three years.
Where do you find your inspiration for your designs?
Travel has been a major influence for me. In the beginning, I would translate a photograph into a quilt. Later my work became very abstract through the use of silkscreens or thermo faxes. I found my textures from photos I took on my travels. In the past few years my relief fabric work has been inspired by pyramids in Mexico or buildings in Italy. It has been a steep learning curve for me because I had to learn about simple pattern making.
Describe your creative space.
The second floor of my house is used as my wet and dry studio spaces. There are windows on every side of the house for 360 degrees of light. There is a sixteen-foot design wall that is covered with insulation board and then canvas.
There is a bedroom that has been converted into a wet studio with a slop sink and a washing machine. There is a padded 4’ x 8’ table is in the center of the room. That is where I do my dyeing and printing.
What are the indispensable tools and materials in your studio? How do they improve your work?
At first I needed to have a thermo fax machine in my studio so that I was able to create thermofax screens for my work. Now that I’m using natural dyes my necessary tools are an induction stove top along with some good stainless steel pots, glass measuring tools and good stirrers.
How often do you start a new project? Do you work actively on more than one project at a time?
I often work in a series, creating a few large compositions at a time. However, if I find a concept I want to explore I may do one piece before I continue pursuing the idea. Some of these begin as experiments.
During the pandemic years I discovered Maiwa and their textile classes given through Zoom. The focus of these classes were indigo, a favorite color of mine, and other natural dyes. It was a steep learning curve to use natural dyes and mordants. I’m continuing to experiment and learn about these new techniques.I have also been painting with thickened natural dyes on silk organza.
Can you tell us about the inspiration and process of one of your works? How does a new work come about?
The “How the Light Gets In “ series references traditional quilts that are recreated in a contemporary style. Although these pieces are big enough to sleep under, it wouldn’t be practical as a quilt because it lacks the strength and warmth that a quilt would provide.
The colors of the silk organza pieces are painted with natural dyes. When these pieces of silk were assembled a whole new variety of colors emerged. The shapes were pieced with very simple and raw construction using overlapping seams. The threads create a linear aspect that add another dimension to the piece.
Which part of the design process is your favorite? Which part is a challenge for you?
My favorite part of designing is creating the fabrics. Whether the fabric is linen, canvas or silk organza getting a palette together is fun. I can be loose and free experimenting with new ideas as I create the fabrics. The challenge is always to create a strong composition. This part is the most time consuming because it is most important to me.
When it comes to creating, are you more of a planner or an improviser?
I am more of an improviser. I try to have a concept before I start working although this is very flexible and fluid.
Is there an overarching theme that connects all your work?
Most of my work is not done with a specific theme, although the Art Cloth Network does set me up with a yearly call for entry with a “theme.” I try to create three pieces of work to submit to the annual call for entry. This has been of major importance to me for the last twenty-three years. I occasionally enter a national show if it seems that my work meets the prerequisites for the call for entry.
Where can people see your work?
The Art Cloth Network has several shows each year that rotate in venues around the country. These range from galleries to museums. Right now I have a piece traveling in Europe with SAQA. The theme of the show is Abstraction.
What else do you do to support the arts?
At the present time I am the president of the Textile Study Group of New York. This is a wonderful organization that supports all of the textile arts in the greater New York area, although we have members all over the country.
I am also on the board of the Art Cloth Network and am one of the chairs of the Exhibit Committee.
Finally, two out of three of my sons are artists I proudly mention this because I feel they are carrying on the tradition of art in my family. My sister is also a wonderful artist.
Interview posted January 2025
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