Selected Works 2003-2020

All are oil on canvas, signed © Judy Gouin and dated on the bottom edge. All copyrights and related rights belong to Judy Gouin. Where prices are indicated, the work is available for sale.

Moon rising
2020, 32” diameter
$3,000

Quarter moon
2020, 26” diameter
$2,000

Spring fog
2019, 36” diameter
$3,800

Birch
2019, 22” diameter
$1,400

First snow
2019, 12” diameter
$400

Fog
2018, 34” diameter
$3,400

Yellow lily pad
2018-2020, 22” diameter
$1,400

Autumn morning
2017-2019, 22” diameter
$1,400

Red algae
2003-2018, 28” diameter

Fireweed
2012, 30” diameter

Cloudy day lily
2011, 30” diameter
$2,400

Rose and yellow spider
2011, 22” diameter
$1,400

Summer birch
2011, 32” diameter

Spring: marsh marigold
2010, 32” diameter
$2,800

The artist
2010, 36” diameter
$3,600

Underneath
2009, 38” diameter

Underneath (up close)
2007, 30” diameter

Remembering Joyce Weiland
2007, 36” diameter

Reflected moon
2006, 24” diameter

Fans 2016


These works are my response to Edgar Degas’ fans, which he made at various times between 1868 and ‘85. Degas, like Monet, Van Gogh, and other European contemporaries, was fascinated by Japanese wood-block prints. At the time, commercial and political relationships between “The West” and “The Far East” were expanding, and cultural influences were being felt on both sides. Degas used his fans (as he did many of his drawings and paintings) to explore the Japanese attitude to materials and space, an attitude that allowed large open areas to function as positive elements in an image. He used coloured and metallic inks and watercolour on silk. His imagery, as in many of his other works, was of the theatre, the ballet and the café concert. I wondered what a 21st-century, northeastern Ontario version would look like, and these fans are one conclusion. They are the same scale as Degas’ fans, but the material is Japanese paper. The theatre stage is the space behind my house in Temagami.

All these works are framed with acid-free mats and Tru Vue colour-neutral, low-reflection glass.


Usually, a wild animal has disappeared before one even notices it. A siting may be only a glimpse out of the corner of one’s eye. Or just a movement in the bush, a momentary recognition of a shape that just as quickly dissolves. This sensation, of almost not seeing something, is what I tried to convey in “Fan: Lynx”.


A snowshoe hare is almost invisible in winter. All that one sees are its eyes, nose and the inside and tips of its ears. Even then, it may only reveal itself if it moves. “Fan: Marten and snowshoe hare” describes an event I witnessed a couple of winters ago. I was surprised to see tiny black shapes moving up and down in clouds of snow. It took a couple of seconds to realize that it was a hare, bounding out of the bush into the open, signalling that someone else was in hot pursuit. Even with its big, furry feet it was having a hard time in the deep snow. The hare was actually breaking trail for its pursuer: A marten emerged not far behind, leaping, its warm brown colour appearing red in the flat light and monochrome landscape. They crossed the clearing and disappeared.


“Fan: Crow” is simply an observation that depictions of birds in pine branches, especially in Japanese and Chinese art, tend to be romantic and sweet, while our northern reality is usually neither.

Judy Gouin, 2016

Fan: Lynx #1
Pencil, watercolour, wheat starch paste and iridescent pearl pigment on Nishinouchi White Sabu-Roku Ban paper, framed 21 3/4”h. x 31 1/4” w. $850., or all three #1 $2,400.

Fan: Marten & snowshoe hare #1
Pencil, watercolour and wheat starch paste on Nishinouchi White Sabu-Roku Ban paper, framed 21 3/4”h. x 31 1/4” w. $850., or all three #1 $2,400.

Fan: Crow #1
Pencil, watercolour and wheat starch paste on Nishinouchi White Sabu-Roku Ban paper, framed 21 3/4”h. x 31 1/4 w. $850., or all three #1 $2,400.

Fan: Lynx #2
Pencil, watercolour, wheat starch paste and iridescent pearl pigment on Kurotani #11 paper, framed 21”h. x 30 1/2” w. $850., or all three #2 $2,400.

Fan: Marten & snowshoe hare #2
Pencil, watercolour and wheat starch paste on Kurotani #11 paper, framed 21”h. x 30 1/2” w. $850., or all three #2 $2,400.

Fan: Crow #2
Pencil, watercolour and wheat starch paste on Haini Kozo paper, framed 21”h. x 30 1/2” w. $850., or all three #2 $2,400.