In Mumbai for a short visit, she has mostly been looking at sculptures -- mythological ones -- because that is where she finds the role models of modern society.

Most of her own works are lifesize little girls made of clay who have been imposed with identities of women from the Bible, mythology and fairy tales. And her three-dimensional sculptures of characters like Delilah, Cinderella and Virgin Mary reveal how personalities of women have always been constrained to a single-dimension just as their bodies have been modulated and adjusted with corsets or feet-binding.

The fact that the more slottable work sells quickly, also underlines the importance of Judy's work -- how people,mostly women, are constantly being tailored to cater to collective fantasy. A process which starts at the beginning of a person's life as good stereotypes are ensured if you catch them young.

"It is scary what parents do to their children. Roles are projected on women to the point of discomfort," says Judy. And this role projection is a continuous process -- a part of the cycle of life. A reason why mythical characters are relevant even today. Judy's sculptures work on many levels.

Her mythological characters rendered cleverly on young children expose just how artificial these personality distortions are. The natural playfulness and pleasure of just being is replaced by exaggerated emotions and expressions.

So Virgin Mary, a chubby little girl, standing in a contrived pose of modesty and piousness, is almost vulgar because she seems to violate the natural order. The thin insecure, unsure seven-year-old-Cinderella, who is tentatively watching her step while curtsying, is no longer a pretty object ofdesire who will be complete only after the prince accepts her -- only a sorry figure to feel pity for.

"There is such a self consciousness and self-preciousness in most women today only because they think they are beautiful and thus are perfect," says Judy. And Delilah -- who has mythically been seen as the literal femme fatale, a sybaritic trickster who betrays her man -- is a little girl cowering in fear on the floor, as if trying to ward off a killer. A bit like victims of popular witch hunting -- she is misunderstood and innocent.

"Men have always had a fear of women," says Judy, a reason why women have been typecast into tight containers of personalities, subject to disfavour if the lines are breached. Because they have been done in nude, her works have an air of vulnerability which highlights the social trespassing of individual minds. It also makes these sculptures a literal expose.

"I just point out the pressures that society puts on individuals," says Judy. Her oeuvre though does not justconcentrate only on women. "I have done an Einstein because he is seen as this God of Physics. I like to do characters people recognise because that make the sculptures more interesting to them," she says.

And during her visits to India she found a lot of intriguing characters here. After her first visit she did a baby Shiva and during her short second visit now -- crammed between a tight teaching schedule -- she is quite taken with the pot-bellied Ganesha, "The Indian pantheon is so much more imaginative than the Christian one. It is a rich source of characters," she says. She also finds Indian sculptures more lyrical and, "going by them, Indians, it seems have a greater appreciation of fat than in the West, which is nice".