Born in Melbourne in 1942, Anne Judell studied at R.M.I.T from 1959 to 1962 and was awarded the Diploma of Design. Judell has traveled widely throughout Europe and the USA prior to settling in Sydney and then moving to the Southern Highlands of NSW in 1995. She has an extensive exhibiting history, with more than 20 solo exhibitions, including a Ten Year Survey Show (1992 – 2002) originating at Campbelltown City Bicentennial Art Gallery and touring NSW Regional Galleries. Judell’s work was selected for ‘The Dobell Prize for Drawing: The First Ten Years 1993 - 2002’ show at AGNSW. In 2012 she won the Dobell Prize for Drawing.

As one of Australia's most senior and celebrated artists working on paper, Anne has been featured in numerous group exhibitions including the Wynne, Sulman and Dobell Prizes at the Art Gallery of New South Wales, the Blake Prize, the Adelaide Perry Drawing Prize, the Jacaranda Acquisitive Drawing Award Exhibition and the Kedumba Art Award Exhibition. Judell’s work is held in significant public and corporate collections including the National Gallery of Australia, the National Gallery of Victoria, the Art Gallery of New South Wales, the Parliament House Collection, Art Bank, and many regional galleries throughout NSW and Victoria. 

I spend half my life closely observing the natural world. The other half I spend in the studio, attempting to translate this experience into two-dimensional form. I am always drawn to the minutiae exposing the evolution of form. Fragility, intimacy, cycles and sequences are what interest me, as opposed to the heroic and the sublime

I have a pre-occupation with light. My work explores this area of shifting phenomena and also its opposite.  It changes from a pre-occupation with this big phenomenological picture down to the very small.  I observe things through a strong magnifying glass, even my dinner sometimes and I’m fascinated by the infinite complexity of the small.  So, my work lies within these two extremes and as I’m working, I must be satisfied that the drawing works at a very close distance and also from standing outside – looking in through the studio window., which I do sometimes, trying to catch it unawaresSo I move back and forth as I’m working – as I always work standing.