Judith Shaw – Feminism and Religion

I Was Called by Mama Dove by Judith Shaw

As we move into the Winter Holidays, when calls for peace are found everywhere, my reflections keep returning to the wisdom of the little dove.

Unlike most of my animal paintings, which start with research into their myths, Mama Dove was different. This painting came about through direct experience in the natural world. In the summer of 2024, a dove nested in the deteriorating lattice roof of my pergola, allowing me to observe her closely as she sat on her eggs. This amazing experience revealed her nurturing strength, and inspired me to create this painting.

mama_dove_painting_Judith_Shaw — *Mama Dove*, gouache on paper by Judith Shaw

Samhain and the Goddess by Judith Shaw

The wheel of the year is turning us once again toward the dark half of the year. Here in the United States, the bright, shining days of youth and achievement receive the most attention. Death and darkness are rarely honored and often feared.

But the ancient Celts had a completely different view of their place in the world. With a strong belief in reincarnation, the Celts saw death as simply a point of transition in a very long series of lives. People honored the darkness of both night and winter as starting points. In the Celtic worldview a day began at sunset, not sunrise, and the New Year began on Samhain, October 31—the midpoint between Fall Equinox and Winter Solstice.

Samhain, one of the four great fire festivals of Celtic tradition, might have begun long before the Celts arrived in Ireland under the influence of an ancient goddess, Tlachtga (tclak ta). She was most likely from the time of the Fir Bolgs, (fair bolak) the Bronze Age inhabitants of Ireland from the East, and later incorporated into the Celtic pantheon.

Tlachtga--celtic-goddess-painting-by-judith-shaw — *Tlachtga, Celtic Goddess of Sun & Lightning*, gouache on paper

“Over the Edge of the World” by Elizabeth Cunningham: A Book Review by Judith Shaw

Elizabeth Cunningham’s new book is a marvel you won’t want to miss. It’s subtitled, “A Fairytale Novel” which lets you know you are in for a magical experience. Fairytales have meaning and contain wonder, beauty and truth. Fairytales awaken new insights for the reader, inspiring us all to think more deeply about our world. “Over the Edge of the World” certainly does all that. It will leave you pondering the difficult reality of our world today and the sacrifice and grit needed to create it anew.

Merrows: The Enchanting Mermaids of Celtic Mythology by Judith Shaw

Mermaids have captivated our imaginations worldwide for thousands of years. Across cultures, mermaids are depicted in differing ways—as a dangerous seductresses like the Greek sirens, or as one who could grant immortality like the Japanese ningyo.

Celtic Ireland, with its abundance of fairies and magical beings has its own kind of mermaid, the Merrow. This term derives from the Gaelic word, “murúch,” which translates as “sea maiden.”

*A Merrow*‘s Longing by Judith Shaw, gouache on paper, 12″x18″

The Cauldron of Life: Destruction and Creation in Celtic Myth, Part 2 by Judith Shaw

Branwen’s Story

Branwen, sister of King Bran the Blessed, was cherished for her gentleness, compassion, and beauty. As the mother of the future king in the tradition of the Old Tribes of the British Isles, she embodies Sovereignty. She is the source of all life, ruling over both the spirit and the land.

Branwen, Celtic Goddess painting my Judith Shaw — Branwen: Celtic Goddess of Love and Compassion by Judith Shaw

We first meet Branwen when the Irish King Matholuch arrives, his fleet signaling peace with a great shield pointing outwards. He asks for Branwen’s hand in marriage—a significant event, as no woman of the old tribes had ever left her people for a foreigner, much less she who would give birth to the next king. Nonetheless, Matholuch is welcomed ashore, and Branwen is summoned.

The Cauldron of Life: Destruction and Creation in Celtic Myth, Part 1 by Judith Shaw

With each passing day, the world spirals deeper into chaos under the weight of the most unsuitable and morally bankrupt president the United States has ever elected. In nearly every aspect of life—from politics to economics to technology to the environment—the world as we knew it is gone. We find ourselves caught between chaos and creation. We are in liminal times.

Badb, Dark Goddess by Judith Shaw — *Badb: Fate Weaver* by Judith Shaw

Pandora/Gaia—Bringer of Gifts by Judith Shaw

As we move deeper and deeper into full autocratic rule, the timeless themes found in mythology help me find my way.

My first thought for these days was of Pandora, whose story in the myth of Pandora’s Box serves as a powerful metaphor for the complexities of human choice—relevant today by the choice of many to elect Trump, resulting in multiple destructive consequences.

***Hope Endures***, by Judith Shaw, gouache on paper, 7.5″x10″

Beyond Words by Judith Shaw

The world has become unrecognizable.

I am at a loss for words.

I take refuge in brush, to color, to canvas, to paper—

peering through the veil; seeking beauty; revealing connections.

The world has become unrecognizable.

I am beyond words.

“Awakening to the Light” by Judith Shaw, gouache on paper, 12″x9″

Amphitrite: Greek Sea Goddess — Balance, Abundance and Protection, by Judith Shaw

In the origin stories of the Greek deities the overarching importance of water, which surrounds their domain, is undeniable. Water held the power of life, death and renewal.

In each successive pantheon of Greek goddesses and gods — the Primordials, the Titans, and the Olympians — a goddess and a god ruled the seas together. During the time of the Primordial deities, it was Thalassa and Pontus, followed by the Titans, Thetys and Oceanus, and Doris and Nereu, and finally by the Olympians, Amphitrite and Poseidon.

“Amphitrite, Greek Sea Goddess,” gouache on paper, 11″ x 17″ by Judith Shaw

The Solstice Tree of Life by Judith Shaw

The exact day of the Winter Solstice ushers in what I think of as the Winter Solstice Season — a ten day period when, in the northern hemisphere, the sun barely moves from it’s most southerly position in the sky. The days are very short and the nights are long, long, long.

At this time of year I embrace the worldview of my Celtic ancestors who relished the darkness in a way that is foreign to us today. Every day began at dusk not dawn. The new year began on October 31, as the cold set in and the world turned toward the dark. The harvest was in, thanks were given, and nature was moving into its period of death. I find an inherent wisdom in this counting of time.

In this moment, my connection to trees feels especially profound. I find such beauty in the winter trees, naked of their green and golden finery, etching stark lines in the sky. As we drew near to the solstice, I felt compelled to create a new painting that expresses my love for winter trees and the Winter Solstice.