Stanford Art Spaces
April 2, 2004 to May 20, 2004, Stanford Art Spaces features this exhibit:


Kayomi Harai
Judy Johnson-Williams
Carved Cardboard
Lucy Liew

Companions © 2004

A New Season © 2004

Women Series II © 2004

Baram River © 2004

This exhibit is located on the Stanford University campus in the Center for Integrated Systems (CIS). The building is open 8:30 am to 5 pm, Monday through Friday. A directory is available at the CIS reception desk.

Most works are for sale directly from the artists. For information, contact M. Grossman, Curator, at (650) 725-3622 or

Kayomi Harai


Defiance © 2004

Autumn Prince © 2004

For more Kayomi Harai art, click here.

Kayomi Harai was born in Osaka, Japan and began drawing when she was very young. She always has had a deep interest in animals, especially the big wild cats and domestic cats. As painting gave her great joy, she decided to pursue her career as an artist. She worked as a commercial art illustrator and a free-lance animal portrait artist in Japan before she moved to California in 1991. When she paints an animal, the eyes always come first. She thinks that the most attractive feature of all cats is their expressive eyes. They convey what the cat is thinking and feeling, and they also determine the mood of the painting. Her paintings often includes two or three animals so she can show their interactions, motions, and behaviors. Her backgrounds are made somewhat mysterious using soft delicate colors. She likes to imagine that the animals’ life stories are being captured in her images.

Kayomi Harai is published by Applejack Limited Editions. Her kittens are also on collector plates (Danbury Mint), T-shirts, and cards. She showed her award winning tiger painting at the National Geographic Wildlife Art Exhibit in Washington D.C. in 2002.

Judy Johnson-Williams

Oily Waters © 2004

Not Finding Treasures © 2004

For more Judy Johnson-Williams art, click here.

Carved cardboard is Judy Johnson-Williams medium of choice. She uses an x-acto blade to remove layers, revealing textures below from recycled cardboard’s previous life. These histories impact the final outcome, both positively and negatively. Marks already on the cardboard add excitement. Although the medium and method can be frustrating and tedious, the preciseness causes her to think more deeply, searching for ways to make a more powerful statement. At times the accumulation of details produces an exhilaration of creation and insight. For the viewer, the busyness and detail does the same, drawing them into the work, as well as whatever dilemma the work represents for them.

For Judy Johnson-Williams, the history of recycled cardboard represents a metaphor for people and their problems, which also have histories. She has been thinking about edges; those points where one makes a life-changing decision. These edges are sometimes very obvious and deliberate, but at other times they are not so clearly seen until long after, when contemplating the finished creation. In the series in this exhibit, the cliffs and ocean represent these edges and the long lines of figures indicate the many ways that problems can be solved or many positions a person can take on the same issue. Maybe because of our origins, the ocean draws people to it, as they stand at the literal edge thinking about their own edges, almost as if they are looking out there for the answer.

Lucy Liew

Women Series I © 2004

For more Lucy Liew art, click here.

Lucy Liew, born in Sarawak (Island of Borneo) Malaysia, is of mixed Chinese-Melanau descent. She is a graduate of the Nanyang Academy of Fine Arts in Singapore and a Commonwealth Foundation Fellowship winner, with a post-graduate diploma in printed textiles from the West Surrey College of Art & Design (England). Her work has been featured internationally in numerous solo and group exhibitions, as well as in various corporate and private collections around the world. While her paintings reflect influence from the Nanyang Movement - a cross-fertilization between the Chinese painting tradition (the scroll) and the School of Paris (the easel) - she has developed her own signature, adopting the traditional native art motifs of Borneo as a language to express her emotions. Over the years her subject matter has taken a variety of forms, but at the heart of all her work is the theme of relationships - between men and women, mothers and daughters, God and mankind, etc. - and her celebration of beauty in life and nature.

Lucy Liew currently resides and works in San Jose, California. When she is not painting, she teaches art to children and adults in her home studio.

Most works are for sale directly from the artists. For information, contact M. Grossman, Curator, at (650) 725-3622 or
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