Ginny Nagy was born in 1951 and grew up in a working-class railroad town in centralNew Jersey, United States.  Her fatherwas an art engraver, until his employer moved away, and her mother was busycaring for seven children.  The home wastumultuous and often frightening to a shy little girl.  Ginny’s early love of painting was suppressedby a social culture that directed girls to only a few pursuits: homemaking,teaching, nursing, or secretarial work. She began raising her own children at 18, soon without a man in thehousehold, and she took jobs wherever she could.  When her life stabilized years later, shebegan pursuing her passion, first in sculpture and then oil painting.  She sought short-term classes, such as atJohnson Atelier in New Jersey and the local community college, but her lessonscame through her own study of artists such as Neel, Toulouse-Lautrec,Modigliani, Soutine, and Schiele.


            She painted because it relieved pain and brought moments of self-fulfillment.  To her initial surprise, her mysterious expressions of human trouble and turmoil found admirers on the internet.  Her paintings were selling through internet exposure, and local art enthusiasts were inviting her to participate in their displays, some commercial and many presented by non-profit organizations.  She gladly donated paintings to family and friends and to some charitable entities.  One of her paintings, Portrait of Zoila, appeared in the background of a popular television show, Jeff Lewis’s Bravo TV series “Flipping Out.” These early successes motivated Ginny to undertake a greater body of work, and to try different genre.


            Bio of Artist Ginny Nagy Without formal education, Ginny leaves to others the task of describing the art she produces.  Somehave called it edgy.  Her canvasescertainly exude emotion, frequently sad, sometimes psychopathic.  She does not set out with the intent ofevoking such reactions.  Only when one ofher paintings amuses has a conscious objective for that painting beendisplayed.  Predominantly, she is simplyworking with the vibrant colors and shapes that she sees in her surroundings –seeing them in human faces and figures, obviously not a source of security andserenity for her.  In her more recentwork, the backgrounds too have exposed the turbulence of her world.  With few models, she often paintsself-portraits, but not of her true appearance. Instead, her self-portraits reflect a range of moods and daily mutationsof her self-image.  Her active mindunconsciously directs the rapid production of her brushes and other tools,leaving it to the viewer to be intrigued, amused, repulsed, or knowinglypleased as may be.  Seldom does a viewerturn away without a reaction. 

   Studio 2020