Washingtonart interviewed Judy Jashinsky in December 2001, as she was preparing for her show at the Emerson Project for the Arts in McLean, VA. Three weeks before the opening of her show, Jashinsky was working hard on completing paintings In her new studio at the Millenium Arts Center. Her show is a culmination of 10 years of work inspired by the life of the 16th century Italian painter, Artemisa Ghentileschi. For backround on the exhibit, go to http://jashinsky.com

washingtonart: Judy, you have been working on imagery relating to the life of Artemisa Ghentileschi for almost 10 years; over time, it seems that you have woven an imaginary narrative together with what is known to be true about her life. Would you describe what you are doing as history painting?

Judy Jashinsky: Yes, I'm interested in the aspect of history painting that analyzes the past for lessons to use in the present and the future. But it's important to me that people understand that this show is a fiction, and a performance, based on carefully studied historical facts.

washingtonart: Well, let's begin with the real Artemisia--what significance does she have for you?

Judy Jashinsky: She is fascinating to me more than just because of her paintings. While working within a restricted group of themes, she still managed to leave a strong impression that they were painted by a woman. Her rendition of Susanna and the Elders is so different from the many other Susannas painted at that time and her work had great influence. She is also a great role model to me in her career--in the strength that she showed in bouncing back from adversity

washingtonart: How does the Artemisia that you've created relate to the historical figure?

Judy Jashinsky: In this series I'm searching for the real Artemisia, trying to fill in the missing places of her story. I want to bring her back to life in a fuller dimension, more completely and fairly, to giver her the honor she deserves.

washingtonart: What is your relationship to this Artemisia you've created?

Judy Jashinsky: She could be an imaginary mentor. I never really had older women artist friends, to guide and influence me.

washingtonart: In some of these imaginary scenes from Artemisia's life, you incorporate images of yourself and some of your contemporaries. For example in the large mural processional scene, you figure as the beheaded Lucretia, next to the head of her daughter Beatrice. what made you decide to do that?

Judy Jashinsky: this is an example of getting into the flow with work, and then unexpected things start to happen. I asked an art student visiting my studio to be the model for Beatrice. She was the one who suggested I be the model for Lucretia, rather than her own mother, who I was going to ask.

washingtonart: It seems that by transposing people from the present into these paintings, you are making a connection between Artemisa's life and times and your own life in the here and now. Do you see a parallel between Washington today and Rome of the 16th century?

Judy Jashinsky: Well, both are centers of power, filled with symbolic places that have energy because people gather in them.

washingtonart: One last question, Judy: In terms of the postition of women in society, how do your compare the times we live in with Artemisa's day?

Judy Jashinsky: There's no question that things are much better for women today. Still, near the conclusion of this project, on September 11, events brought my attention to the plight of women in Afghanistan, remining me that in some places things are worse than ever.

washingtonart: Sad, but true. Thanks so much for your time Judy, and best of luck with the show.

Sept.11, 1599: Cenci Execution