Jane Yudelman was born in South Africa, grew up in England and now divides her time between Massachusetts and Maine. Having worked professionally for many years in poverty-alleviation programmes around the world, she turns to photography to remind herself of the beauty that exists in a world of economic, social and political injustice. Her photography focuses on discovering abstract expressions of this beauty in the natural world: in small patches of ice, on the water surfaces, among leaves in tidal pools. Jane's work has been exhibited in galleries across the United States and has won a number of awards. Her images can be found in corporate collections in Maine and private collections in the United States and Europe.
"Photography is an exploration for me, a quest to capture elements of the abstract in nature. Before taking a photograph, I spend extended periods of time getting to know the natural light, colours, shapes, textures and motion in a defined geographical area — a short stretch of beach, a tidal pool, a salt marsh. It is through this process of intimate discovery that I identify the subject matter and the abstract qualities I wish to emphasize. In the creation of the images, I often attempt to blur the line between photography and painting."
"I use a digital camera and print on archival paper with archival inks. For each image, I currently print a maximum of ten prints (and two artist proofs) in sizes that can range from 16 x 16 inches up to 40 x 40 inches for square images and from 16 x 24 inches up to 40 x 60 inches for rectangular images."
- Jane Yudelman
In this series, I have reassembled multiple images of the same subject—sky, sea, and horizon—according to pre-determined time-based rules. Before creating an image I decide on the time interval that I will use—for example, only sixteen visual moments from Fridays or nine visual moments from March. The end result is a visual representation of my personal experience of time.
In this series, I have set about transforming the sparkling highlights of the day-lit winter snows of northern Maine into imaginary star-filled nightscapes. The constellations in these images are charted only in my imagination. They evoke both real and other-worldly night skies. For me, the series is a meditation on the mystery of the night skies that reminds me of the fluidity of time, space and the endless wonder of stars.
This series grew out of my frustration with specular highlights — those dazzling, overexposed white spots that appeared in many of my photographs of ice and water taken on bright sunny days. I found myself spending many hours in the digital darkroom trying to tamp down these visually distracting spots that are often also fringed with unnatural-looking colours. One day, in a fit of frustration, I decided that instead of fighting them, I would make specular highlights the subject of my photographs. In so doing, I have in essence embraced a limitation of the digital photographic process to create images that transport me beyond the bright snows to other nocturnal worlds.