The alignment of Judy Millar‘s thinking with the theme of this Biennale, Making worlds, is as
uncanny as her painted (and sculpted) installation. She ‘takes over’ the interior of La Maddalena, a circular church in Cannaregio – indeed, there is a sense in which her site literally becomes her canvas. A centrally-placed painting in the round will bulge and intrude into the viewer’s space in three dimensions. Other oddly-shaped canvasses lean against the walls, stretching their elongated necks to the ceiling, making obvious
their temporary placement in Venice. In addition to the tensions between notions of inside and
outside, large and small, the hand-made and the digitally-reproduced, their provisional relationship
with this place of worship and belief is documented in this catalogue and well explored by Jennifer Gross in her essay in this publication.