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Fusion Art “5th Annual Skies” - Cape Cod Cultural Center “Eye of the Beholder" - LightSpaceTime “11th Open” - The Curator's Salon “The Marks We Make" - Boomer Gallery Tower Bridge “Contemporary Call" - ArtRoom Gallery “Skies" - GalleryRing, “Land Water Sky”
LightSpaceTime ,“555” - Manchester VR/2020 Deansgate, “BritishArtsExhibitions" = HelvetArt ,“Inspiration” - RedArtBox, “Rooftop Exhibition, Los Angeles” - Las Laguna, “The Second Half” - Art Show International, “Open Theme” - Art Fluent Gallery, “Of The Earth”
Grey Cube Gallery, “Skies”  - People & Painting Gallery, “In Search of Beauty” - Art Gallery 118, “Time and Tide” - HelvetArt, “Open Show” - Las Laguna Gallery, “Women in Art” - Art Gallery 118, “When She Rises, We All Rise” - Contemporary Art Gallery, “All Women Artists” -  Recipient, Social Conscious Award

Judith Lungen has been privileged to learn many facets of Art - painting watercolors, acrylics, charcoals, graphic design, art direction, children's books publishing, video, film and writing.  After ‘hands on’ Scenic & Set Design experience at a Repertory Musical Theatre in the Round Summer Stock Company, she would later be commissioned to create and paint a series of murals in Central Israel.  Judith gratefully credits award-winning Art Director, the late Amelia Edwards as her greatest mentor when they worked together in London’s Walker Books, a children’s book publishing company.

“Having transitioned from watercolors to Digital Painting, I embarked on a project entitled “Father Giri’s Diary – A Pilgrim’s Journey,” which consists of over 60 digital paintings that blend Hindu, Catholic, Hebraic, Ethiopian and Yoruban theme and Images.  The body of work I’m submitting is part of that larger collection. Watercolors and charcoals exhibited and sold in numerous Open Exhibitions in European and Israeli cities: Amsterdam (Netherlands), London, Brighton & Hove (UK), Rehovot, Galleria Ha’yaar, Jerusalem (Israel).”

Invoke the divine. Walk among Archaeological remnants

Sit on slabs of limestone once part of a great edifice

Intense arid desert heat sits in meditation

Full moon brings a cooling breeze

Caves contain mysteries waiting to be revealed

Touch the past, memories stir

It is old, It is ancient, It is magnificent.

The Endless Passage of Time ~ Judith Lungen

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Description of Policy from Merchant:

How To Return a Purchase? If you are not completely satisfied; you can return your art within seven days. Please save the original packaging when you receive the art. If you choose to return the art, repackage it in its original box and contact us at or (844) 210-7722. We will then issue you a prepaid FedEx or UPS shipping label to affix to the box and return. Items must be shipped backed within seven days of receiving the order. 50% of the cost of the return will be deducted from your refund. If you live outside of the United States, please see below for the return procedure. Art that is returned damaged will not be refunded. Photographs and limited edition prints that are returned wrinkled, dented, or smudged due to mishandling will incur a handling fee based on the size of the piece. Outside the United States, How To Return a Purchase? If you are not completely satisfied; you can return your art within seven days. Please save the original packaging when you receive the art. If you choose to return the art, repackage it in its original box and contact us at or (844) 210-7722. We will provide you with the return shipping address so that you can ship the artwork with the carrier of your choosing. You are responsible for the cost of return shipping and any customs and brokerage fees charged upon return. Items must be shipped within seven days of receiving the order. Receipt of a Damaged Piece of Art? We package all artwork in custom built art boxes to insure safe delivery, so receiving damaged art is a rare occurrence. If you receive a damaged piece of art, contact us within 24 hours, at or (844) 210-7722. Please take a picture as well as save the box and all packaging material; we must have these items in order to process the claim.

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Description from Merchant:

Archival Quality paint must have certain qualities. The first is the paper itself. The paper or canvas must be manufactured using pure alpha cellulose fibre, pure cotton fibre or a combination of the two materials. This will ensure the paper base is pH7 or above or acid free. A paper that contains lignin cannot be acid free as lignin is a naturally occurring acid within plant fibres. It is the lignin content in newsprint paper which causes it to yellow and go brittle over time. Next the paper is coated for preparation of printing. This preparation changes depending on the machine and paper used. The coating is applied to the surface of the paper base to ensure that the ink is absorbed in just the right amount. Once a coating is applied, the pH value (acidity) of the entire paper changes. The only way for this to be addressed is for manufacturers to ensure that the coatings used on their papers are as close to acid neutral as possible and to supply the pH value of the total paper (base and coating) rather than just the base. Then the ink is applied to the Archival paper. In order for a print to be considered An Archival print the inks used are pigment-based instead of dye-based. Finally; to maintain your Archival Print, below is a checklist.: 1. Ensure all the materials used to mount, frame and store finished prints are acid free. 2. Display your own prints out of direct light, in an environment with stable temperature, and humidity levels.

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