For Hudson’s second solo exhibition at Rokeby the artist will present one work, which will extend from floor to ceiling and from wall to wall, installed during August, over a five week period prior to the opening.
Crossing between sculpture and installation, Hudson’s practice and materials evolve in response to places and events. His forthcoming installation will include the discarded and overlooked objects of London’s streets and cheap mass-produced goods, constructed with both energy and wit.
Hudson’s practice is concerned with the politics of materiality. The use of every day and redundant objects as viable artistic material has recurred throughout the 20th Century and has its roots in the work of pivotal artists such as Kurt Schwitters and in Duchamp’s ready-made. In his recent large installations parallels can be drawn to the sprawling spaces of Hirschorn, and Takahashi.
Hudson comments on the issues of the day as well as the history of modern life and art in installations that employ the formal analysis of minimalism with the joie de vivre of the baroque. His work, often in an apparent state of ruin and of monumental fragility, remind us of the chaos of daily perception. He glorifies the mundane and celebrates in formal simplicity, all the while communicating on the ageless themes of love, life and death.
Since completing his six month Parade Ground residency, supported by the Henry Moore Foundation Fellowship, Hudson spent two months in Nairobi and has since been based in Los Angeles. Solo presentations have included Monitor, Rome, Zinger Presents Amsterdam, and Liste, Basel. Commissions have included the Scholl Collection, Miami and Comme Des Garcons in London and Tokyo. Forthcoming commissions and exhibitions include the Zabludowicz Collection, London, Locust Projects, Miami and an installation as part of BodyCity, the Docklands, Dublin.