Judith Levin's paintings began to be collected when she was fifteen. She developed a technique in pure painting, freely building a classical composition directly onto the canvas in paint only, without the use of drawn or planned outlines. Her early work is comprised of a series of flower paintings in which this technique reflects the natural and free compositions of the flowers themselves. These paintings are noted for their contrast of texture, the almost weightlessness of the petals against the solidity of the jug that contains them, and the play of light and colour. In the continuing series of still life paintings, the same freedom of technique is given into an expression of simplicity of form. These are contemplative, silent paintings taken from direct observation. Moving to the pictorial space of the landscape, the moorland paintings are a personal response to the vast, open spaces of heather on the moors around Haworth, Ilkley and North Yorkshire, most of which is left unseen, and the woodland paintings a response to the more enclosed landscape within the city. The conservation of these places are paramount to her. Judith's paintings are found in private and corporate collections internationally.

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