Eid Ma Clack Shaw OR the minimalism of letters

page 4     S.Tudyk “Eid Ma Clack Shaw”
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S.Tudyk, “Periodically Double or Triple”

Periodically Double or Triple
acrylic on canvas     30” x 40” x 1.5”     2015
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This painting reminds me of the corner of the National Gallery of Art, East Building in Washington, DC, designed by I.M. Pei. I love how Donald Judd’s monumental works inspired your folded letter tunnels, and it seems fitting that your work would point to other work. You’ve suggested a full circle of artistic influence and reference. Beautiful!
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I love hearing what other people see in my work. I was also thinking about Richard Serra’s monumental works when I composed this one and “Silver Morning After.”
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This work reminds me of your photos of walking through Judd’s sculptures: sometimes you look at the shapes, sometimes you’re inside them looking out at the world, sometimes you’re laying down, looking up at the sky, as in this work…these paintings are a fantasy walk-through of your folded letter structures, a surrealist dream landscape, to be perfectly cheesy. I like it.
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Then you are seeing it! I’m pleased.
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S.Tudyk,

S.Tudyk, “Silver Morning After”

Silver Morning After
acrylic on canvas     40” x 30” x 1.5”     2015
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I enjoy the sense of vertigo I feel if I pretend that I am leaning over the side of a tall building rather than standing in a “written field” and looking out to the horizon (as in “Time Grows…I&II”). Tell me about your visualization for this piece; I’m especially interested in the drips and the dark places with layers on top… they are beautiful textures and work well next to the transparent vertical “back wall” or sky. I love how the light glows through the paper, letting us see the text on the reverse side. How’d you get the effect of transparency? Did you write the reverse side words first, obscure them as if a layer of paper were there, then write the facing layer?
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This piece and “Periodically Double or Triple” are from the perspective of being inside a letter. I started with the triangles of values; I felt they mimicked the angles of light and were more interesting applied sharp rather than a gradient bleed from one into the other. Then I began more trial and error with applying the handwriting. Yes, the reverse writing came first, then a white glaze to set it back slightly, and then the facing layer. The dark places and the drips were the first of a fantastic error. I got frustrated and took it out on the canvas. I felt so much better about the work after that happened.
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