Judit Wilson

The sculptural work was created during the first Covid-19 lockdown, whereas the artist could only use existing materials from her home studio. An old dusty pink jumper was used as the body sewn together and four doll hands were used as the legs. The frog is holding an old translucent bouncy ball with a small plastic animal embedded into it donated by the artist’s son. The crown the frog wears was created from a toilet roll as the documentation of the panic buying of toilet rolls at the time.

Judit Wilson

I am a Hungarian artist living in West Yorkshire since 2007. My creative practice is versatile using mixed-media, found objects and textiles to create small scale sculptures and artefacts.

My work is informed by my Hungarian heritage, life experience, childhood memories and fairy tales. I often tackle subjects of taboo, such as religion, sexuality and fetishism from a feminist point of view. I use wrapping, hand-sewing and embellishing objects in my creative process.

Recently, I have started to take steps to explore drawing as a medium for telling my stories where I can embed humour and quirkiness. I graduated from Leeds Arts University completing my MA in Creative Practice.

Instagram: @judit.wilson

The sculptural work was created during the first Covid-19 lockdown, whereas the artist could only use existing materials from her home studio. An old dusty pink jumper was used as the body sewn together and four doll hands were used as the legs. The frog is holding an old translucent bouncy ball with a small plastic animal embedded into it donated by the artist’s son. The crown the frog wears was created from a toilet roll as the documentation of the panic buying of toilet rolls at the time.
Frog Prince (2020)
The miniature crocheted work fits in a small palm. The artist used different textured yarns resulting a knobbly, tactile piece. A tiny plastic baby doll is embedded into the crocheted base, wrapped with threads and hair.
‘Why do we pass on are vulnerabilities? – Conversations with Louise Bourgeois’ (2021)
The miniature sculpture fits in one palm. The sculpture is an abstract piece, only loosely follows the torso of the body without a head or the limbs. It is sawn from a pair of skin-toned tights, which reflects to the sensual as well as the vulnerable nature of the body. The artist used hair as embellishment for the work which results in an interesting tactile texture, but a somewhat uncomfortable visual sensation.
The Body (2021)
There is a contrast between the hard, shiny surface of the doll and the intricate surface of the textiles. While you might think that the textiles are soft and warm, the way the doll is tightly wrapped makes the yarn very firm. The details of the threads stand out. The doll wears a crown of a pig’s tooth, which was given to the artist a while ago. White yarns and threads cover the doll, which is also white as well as the crown.
Tooth Fairy. Prayers of Offering (2020)
Image descriptions:

Frog Prince (2020)
The ‘Frog Prince’ is inspired by Brothers Grimm’s fairy tale and was created as a prop for a collaborative project. By using doll-parts and skin-toned textiles the work emphasises that the prince is not a frog, but a human trapped in the body of a frog. It is a very personal piece as the young artist was fascinated with the animal kingdom and adored the European tree frog (Hyla arborea) which was common in Hungary. 

‘Why do we pass on are vulnerabilities? – Conversations with Louise Bourgeois’ (2021)
‘Why do we pass on are vulnerabilities? – Conversations with Louise Bourgeois’ explores the complexity of human nature from a feminist point of view by investigating the fragile relationship between mother and child. During fleeting moments of frustration and distress relationships can suffer within the domestic environment and the pain can be passed on to many generations. The crocheted work, the subversive stitching and the use of found miniature baby figurine draws from the artist’s Hungarian textile heritage, alongside with her fascination with childhood memories and toys. The artist’s hair as well as her son’s is embedded into the work, entwined and interlinked as past and present memories of pain and distress we carry around. The miniature work was created for the exhibition, ‘This Volatile State’ at The House of Smalls curated by Amy Oliver.

Tooth Fairy. Prayers of Offering (2020)
Tooth Fairy is part of a small series where the artist explores strengths and vulnerabilities informed by autobiographical memory, her love of collecting old, broken toys and mixing various found objects. The small artefact explores the pain of toothache and the fear of dentist and overcoming these obstacles. The work was part of the exhibition ‘Possible All Along’ curated by Gill Crawshaw.

The Body (2021)
This small sculptural work was created as a result of fascination with the human body, how it changes and transforms throughout a lifetime. The body can put on weight, loose weight, protect us or make us prone to physical conditions. It is amazing how the body changes throughout all the years, almost unrecognisable. The artist was looking at her old photos from childhood through teenage years and the different stages of her adult life. The artist looks at her own ever-changing body with curiosity and amusement as it is solid and protective as it is fragile and ephemeral. It is a body of a daughter, a mother, a lover and wife. The work was selected for the exhibition ‘Mirror Mirror on the Wall’ at The House of Smalls, curated by Amy Oliver.

Who are DISrupt?

Michelle Duxbury, Amelia Baron, Ashley Ferrari, Emily Uttley, Emma Bentley Fox, Gill Crawshaw, Jem Clancy, Jude Woods, Judit Wilson, Kirsty Ramsay Hogan, Nicole Murmann, Sam Metz, Sandra Wyman, Sarah Francis, Vickie Orton and more…

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© DISrupt Arts Leeds 2021. Copyright of any artwork shared on our website remains with the named artist. Please do not reproduce any artwork without the written permission of the artist. All right reserved.