Eid Ma Clack Shaw OR the minimalism of letters

page 3     S.Tudyk “Eid Ma Clack Shaw”

S.Tudyk “Time Grows Over Memories I”

Time Grows Over Memories I
oil, wax, carbon on paper     36” x 30”     2015
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S.Tudyk, “Time Grows Over Memories II”

Time Grows Over Memories II
oil, wax, carbon on paper     36” x 30”     2015
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That grass! I didn’t immediately realize it was repeated hatches or tally marks … I think this helps the fields become something newer than just another field of grass. As much as I adore the “Fields of Elysium” from Roman mythology’s afterlife (think Maximus touching that wheat in “Gladiator”), I’m also an artist and a mark-maker, so this field would beckon to other artists for the same reason: it’s familiar territory and calls to us as fellow mark-makers, if not also speaking as a universal, mythical home. 
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Are you proposing to manifest an entire world of hand-written marks?
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I like the sound of that.
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Tell me about the process of creating these two works: How did you conceive of the work before starting?
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The tally marks had become part of my vocabulary for the series, having found their way into a few pieces already. I wanted to convey a sense of time passing and it made sense visually and conceptually as a representation of overgrown grass.
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Where in the series do these two works fall, in terms of when you started what painting?
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These two were created last. The paper pieces, “Untitled Work in Paper, Marfa,” and “Eid Ma Clack Shaw,” were [for the most part] completed in Marfa, while the rest were executed in Portland.
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the artist's workspace while in Marfa, TX

the artist’s workspace while in Marfa, TX

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Did you run short on any materials while in Marfa? What was good about being back in Portland, away from your inspirational Marfa environment, and what was difficult?
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I ran out of white acrylic and started using white gouache in it’s place. I kept forgetting I was using gouache, but it would always remind me, pulling back up when I worked over it. Before any materials arrived in Marfa by post I was trying to paint with wite-out and burned matches. Back in Portland, I missed the warm sunny days, but I was glad to be back in my studio. Portland and Marfa are night and day experiences (particularly in the winter). One is warm, bright and arid with fields of yellow grass, and the other is generally cool, gray, and damp with lush green growth surrounding. I wish I could enter each one like different rooms of a house. It was good to have easy access to a printer and the internet again. Getting the artwork finished was like preparing for any other show. I had my inspiration captured in photographs of Marfa, and just went to work planning out the space I had to fill.
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Marfa, TX: a working retreat for the artist

Night & Day: Marfa, TX: a working retreat for the artist …

Portland, OR: the artist's home

… and Portland, OR: the artist’s home.

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