Coming from a painterly practice, Judith Raum works in long-term, research-based projects that combine painting, drawing, installation, and lecture performance. She addresses economic and socio-historical subjects, postcolonial critique, traditional hierarchies between creative disciplines and the conditions of artistic production, as in eser (2010–2015) and Textile Territories (2017–2024). Her most recent works, rooted in material experimentation and familial memory, explore how personal, social, and artistic histories can be traced, materialized, and reimagined through artistic practice. In this new body of work, Raum turns to floral motifs as carriers of artistic and generational memory.

The large-scale textile painting Untitled (Pines I) (2025) consists of two fabric layers: the upper layer printed in black and white recalls the linocut technique of her grandmother, Hedwig Roth (1906–1990), while beneath it, expansive gouache gestures create color fields that shine subtly through the upper surface. While Roth, who worked exclusively for her circle of family and friends, rendered plants in miniature, Raum amplifies her grandmother’s motifs and techniques into sweeping, dynamic painterly movements, removing them from the realm of hobbies and repositioning them within Raum’s own practice and a contemporary, discursive field.