Review: A Working History of Things to Come
"Unwound", oil on Fiberboard
I spent an hour today taking in the show, A Working History of Things to Come, works by Eric Hudgins in Wug Laku’s Studio and Garage. The show is aptly titled, as the paintings build upon themselves and foreshadow his current work. Overall, Hudgin creates pieces that have interweaving patterns, ideas, and colors. His work explores the relationship between technology and nature. The older pieces in the main part of the gallery contain a dichotomy of nature and technology. They relate, yet remain separate. In the “red” room, one finds abstract paintings that seem to contain something somewhere between the extremes. All of the pieces are painted with care. The surface of the paintings are smooth and therefore do not obstruct the viewer from the content of the painting.
Among the earlier works on display, Cecoprian and Convergence caught my eye and mind. These works are surreal in nature and representational in execution. The work is presented in black frames that add to the formal, traditional feeling of this earlier work. Eric Hudgins sums up his ideas when he states, “I believe there may come a day when technology is viewed as being just as natural as nature itself.”
"Cecoprian", oil, acrylic, ink, graphite on paper
In Cecoprian, the viewer is presented with a moth. Half of the moth is natural. The other part is created with intricate designs and patterns, melded with nature. There is a combination of nature and technology, yet they stand as separate elements. In Convergence, the dialogue between nature and technology takes on a different dimension as an alligator hatches out of a light bulb and an apple split in half reveals half of a white natural apple and half of a mechanical object.
"Convergence", detail
"Convergence", detail
The larger, newer, abstract works in the red room are displayed as frame-less, wrapped canvases. These works are narrative, containing forms interacting with light in space and time. The subject, although abstract, is the result of natural and mechanical influences. It is a combination of the two separate ideas that Hudgins was previously working with. A detail from Divine Turbulence shows how one of the planes in the picture, painted like a sky, is transposed next to a mechanical shaped plane.
Symmetry is the element that seems to hold both Running a Finger Along the Edge of Madness and The Rise of Fall together. The paintings have energy and motion, but are stabilized by vertical symmetry. In the first of these two paintings, it is symmetrical to the point of having a different light source for each half. In the latter painting, there is a single light source which opens the space of the painting up to include a singular, symmetrical object.
Running a Finger along the Edge of Madness
The Rise of Fall
The show will be up through May 29. Wug Laku’s Studio and Garage is open 12-4 on Fridays and Saturdays or by appointment.
