Judith Allen-Efstathiou

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Artist Statement

My work is autobiographical, like a journal recording what I am thinking, doing, wanting, and worrying about. For my series the Tree Museum, I make large paper matrix lithographs of individual trees from the northern forest where I often hike. Much of my recent work reflects both my love of the outdoors and my worrying about loss in the natural world caused by human activities. I create science fictions of a future time when all that’s left of the once rich diversity of plant life is found dried and pressed in books. In my recent series of cyanotypes and lithographs, All That’s Left Pressed in a Book and Botanical Rhapsody the mirrored images of wildflowers are based an ongoing series of botanical illustrations, drawn along a single footpath on the island of Kea, Greece, recording decline and loss of wildflower species month by month over the years from 2011 to the present (Mapping the Walk).

In my studio practice, I join digital photographs with more traditional printmaking and cyanotype techniques. Using the computer as my primary tool for manipulating my photographs and drawings, I reassemble images to print out as negatives for cyanotypes or as paper positives used for printing paper-matrix lithographs

Brief Bio

Judith Allen-Efstathiou’s family goes back 14 generations in Maine. The last five generations of women have been artists; three generations graduated from The School of the Museum of Fine Arts, Boston (SMFA). After Judith’s SMFA graduation she was awarded a traveling fellowship from the Museum of Fine Arts, Boston for one year of international travel; she ended up stretching that year into a three-decade stay in Athens, Greece. In 1999 she began her six-months-in-Portland-six-months-in-Athens life. It’s a complicated life, balancing duel citizenship, two languages and two cultures. Her artwork is informed by her negotiations between these two vastly different worlds. She exhibits her work in both the USA and in Greece, and has been included in many international printmaking biennials throughout the world. Her work is included in the publication Maine Printmaking 1800-2005: The Imprint of Place by David P. Becker (2006)