I scratch into things, scribble, draw, paint, sculpt, carve, build, stitch. These activities have been with me always and are part of who I am. Art of others also absorbs me. Observing the world and delighting in the path of a sea slug, or the movement of leaves, or patterns of cicada wings, or light on the ocean, or the myriad sensory marks, shapes, textures, smells, sounds and tastes are a constant source of joy or wonder. Ideas also engage me - always, all ways. My work is informed by these passions and my desire to interpret and understand every part of my world. Sometimes I just do and imagine; or seek to amuse; at times I aim to stir memory and emotion; or challenge attitudes or behaviour.
I have a playful, experimental approach to art making. Last year my work moved from dark and fire ravaged to humorous and childlike. I seemed to be trying to find humour in these troubling times. This year, I’ve returned to old and universal themes encompassing memory, the passage of time and loss, conservation and decay, as well as concern for the planet. I’m also incorporating my love of woodwork and wood carving.
- Judy Panucci

Left: Judy Panucci in studio. Right: *Cicada; summer child*

SAA: How would you describe your Arts Practice?

JP: My arts practice is constant exploration and interaction with my world and with others who craft and create. It's experimental, playful and can be intense and physically active or quiet and contemplative.

SAA: Have you done any study? related to art or not?

JP: My study was initially Literature/ History/ Philosophy and Education based, which culminated in many years teaching. I also have studied Urban Horticulture and Effluent Disposal, Furniture making and have had ongoing classes in drawing, as well as attending workshops where artists share techniques and experiences. I have some experience with clay sculpture and basic wood carving.

SAA: What do you find most inspiring about your art space?

JP: My art space is light and I have the chance to spread out. It's more often the kitchen dining area as it is brightest and in the hub of everything.

SAA: What does a studio day in your life look like?

JP: My days vary. Recently I conserved a large panel and built a large bogong moth from putty and sawdust. At the same time I was crafting a box and doing fiddly paintings of sea horses as well as gouging and carving into plywood to explore ideas for Weathering.

SAA: How have you grown as an artist since starting out?

JP: I'm definitely evolving and still trying new techniques and processes. I'd like to weld but I'd also like to focus on developing and improving printing and working with textures. I am recently interested in adding sound and touch to visual elements.

SAA: What gets you up in the morning and drives you to be a working artist?

It's part of who I am. My head is crowded with ideas and concerns. My creative self wants to interpret and share these through making honest responses to my world.

Left: *Sea kelp; tenacity*. Right: *Channel country filling; life*

SAA: How did you stay focussed and original when starting out?

I have had a life that is filled with teaching and learning. I just have to respond through my specific and considered world view. For many years my art practice was incorporated into my teaching materials or involved getting students to visualise and and explore mark making as part of their learning.

JP: What do you read, watch, listen to, do to stay inspired?

I'm an abc radio listener and I listen to conversations via podcast from artists, musicians, writers, and others who passionately interact with our world and care about its future. I read everyday. My most recent books have been Feminist / Legal, as well as texts on trauma and on AI and on the importance of hyphae, fungi etc. I also heard "Horse" on audible "Dog Boy."
I regularly attend live music gigs and am learning cornet.

SAA: Do you have any advice for young artists?

JP: Stay young at heart and keep exploring the areas which compel you to respond and create. Enjoy the process.