Your practice often balances humour, beauty and unease. How do you think those seemingly contradictory emotions work together in your practice?
I often use humour as it is non-threatening and allows the viewer a way into the work; it allows the work to reveal other ideas that could be more serious. Unease is important; I ask what the role of art is in a 2026 post-pandemic and uneasy world?
Judy Darragh, Globe, 2025
You have spoken about making art during a time of economic uncertainty. Did the current moment shape the way Pool came together, whether through your choice of materials, process or ideas?
I am interested in how we talk about investment in art, the value of the artwork and how artists ‘invest’ in their careers… It’s a capitalist lens. I argue that the art is valued more than the artist; how should the artist be valued?
I’ve been thinking what recession art would look like: collected stamps, rubber bands, hessian sacks? ‘POOL’ was a collection of works that had been sitting in my studio; it was great to see how they came together in the space. POOL means to collect together, pool resources; it is a positive action.
Judy Darragh, Hubcap, 2026
Your practice has long transformed found objects into sculptures that feel both playful and politically charged. What continues to fascinate you about the lives these objects carry before they enter the gallery?
A found object has a past life; they come charged with history in particular. My use of plastics is more resonant now as we are facing microplastics in our bodies and planet. These bright, shiny, and colourful objects are problematic. I often use objects taken from op shops etc., and make them into a work and then return them to the op shops. I would see artists spending a lot of money fabricating works; I had to find a more sustainable way of making work.
Judy Darragh, Pool, 2026
You’ve spent decades reinventing the language of sculpture. What still surprises you in the studio, and what keeps you experimenting?
My output is determined by what I find. The French Surrealists suggested the object finds you, objet trouve, I certainly find that is true. I currently have 12 reposable toy horses in my studio; they were collected over 12 months, and they are standing by. As artists, we don’t just stop making; it is pathological and a language that we are using to create conversations. I have a studio full of ideas yet to be resolved; we are problem solvers.
Judy Darragh, Stilleto, 2026
What’s happening next in your world, any other upcoming exhibitions?
I’m involved in arts advocacy, Arts Makers Aotearoa, paying artists’ fees in particular. We will be looking to see what the election will bring regarding arts policy etc., as we know the cuts to arts are real. The message of valuing the artist is more important than ever.
