installation

Natural Aspects with Human Interventions

“My stone sculptures tend to be a balance of natural aspects with human interventions.” - the artist

CLOUD HANDS I, 1994, 11 feet sq, SOLD

CLOUD HANDS I, 1994, 11 feet sq, SOLD

Jon Barlow Hudson has been creating large scale sculpture projects for public environments since 1976, in 27 countries round the world: 23 throughout China alone. This has provided him with a uniquely broad experience of art & sculpture in many different cultural & architectural contexts.

“My 1st % for art project, POLARIS, was for Miami/Dade in 1979, for Homestead Public Library: soon followed by VINCULUM AMORIS for S. Regional Court in Hollywood, FL.” - the artist

DOUBLE HELIX, 2010, 25' L x 8' H, SOLD

DOUBLE HELIX, 2010, 25' L x 8' H, SOLD

I work on any scale, in a wide range of materials, in various motifs & types of installation. While many of my projects have been in various kinds of metal such as stainless steel, I especially like working with stone. Many of my large scale projects have involved working with various types of clients in both early & later stages, sometimes developing a project with them. Virtually all have been designed with their intended sites uppermost in mind, within budget & on schedule. While most are stand-alone, several have been atrium installations and wall mounted: a couple have been fountains.

FENESTRAE AETERNITATIS: BOOKS INTO INFINITY, 2013, 18’ L, SOLD

FENESTRAE AETERNITATIS: BOOKS INTO INFINITY, 2013, 18’ L, SOLD

My sculpture projects tend to be abstract, often geometric in 1 way or another. Certain projects might have more literal, humanistic or figurative aspects such as my ETRUSCAN MAENAD series, inspired by a bronze figurine in the Fiesole museum. My stone sculptures tend to be a balance of natural aspects with human interventions. My sculpture may be seen as iconic for the most part, or symbolic, very often referencing a center, whether actual or spatial.

ETRUSCAN MAENAD-MOTHER BEAR, 2012, life size. SOLD

ETRUSCAN MAENAD-MOTHER BEAR, 2012, life size. SOLD

It often works with balance; space in contrast with form; implied space; ambiguity if incorporating mirror surfaces; light & darkness; a continuum, implied or actual; movement & flow such as a vortex; interior & exterior; natural/organic with man-made. I always thoroughly research a given project & create a sculpture or project that speaks to the pertinent characteristics of the situation, whether cultural, environmental or architectural.

TREE OF KNOWLEDGE, 1992, Bronze, 10' H, SOLD

TREE OF KNOWLEDGE, 1992, Bronze, 10' H, SOLD

This is a collection of commissioned public art projects. I have several various other options relative to type of work and choices of the works can be themed.

To view more work by the artist, please visit www.hudsonsculpture.art.


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

Searching for Spaces

“I am searching for spaces or things that lost our attention, that might seem to be banal, boring, or disintegrating as a place, and I put my focus of attention on them through the work.” - the artist

Crackling Surface, 2018, embroidered organza, 30 x 210 cm, 300 euro

Crackling Surface, 2018, embroidered organza, 30 x 210 cm, 300 euro

Since presence in physical space is what helps me to express myself the easiest, I expect people will also interact through their bodies, moving and relating with the created space.

The main idea of my body of work is related to my Buddhist practice. It is the first noble truth from the Buddhist philosophy: There is suffering.  The main instrument for grasping it is the reflection and insight into impermanence. That is, we suffer as a consequence of our resistance to change, because we want the world to remain as it is, and it does not - for good or for bad. Does it mean we are fragile or too powerful in front of it?

Lack of Politics, 2018, embroidered organza, 30 x 210 cm, 300 euro

Lack of Politics, 2018, embroidered organza, 30 x 210 cm, 300 euro

I am searching for spaces or things that lost our attention, that might seem to be banal, boring, or disintegrating as a place, and I put my focus of attention on them through the work. The work is usually a site –specific work or an intervention in space.

I am usually underlining disintegrating elements, coloring or adding precious details that create focus on the vital potential of the place. For me to do the work is struggling to live into a breathing space, while letting go of both the loses of the past as well as of the achievements of the past, and striving to gain more insight while accepting things as they come and go through our lives.

Anger, 2016, digital print, 90 x 90 cm, 300 euro

Anger, 2016, digital print, 90 x 90 cm, 300 euro

The main idea of the changing nature of things is one we can easily grasp intellectually - for some might sound even as a truism - yet our emotional experience rarely integrates this truth. This is the reason I intend to raise attention not only to the idea of an impermanent reality but also to the suffering brought by change. Nevertheless, the work aims to be a proposal of contemplating the precious nature of all of our moments as long as we are alive, being a possible open door towards our joy of living.

It is also due to the interdependence of things that intervention into a vulnerable or painful point of place is a sort of urban acupuncture – that radiates ripples around it, integrating change processes into the work.   The viewer of the work should be inspired to be present in space.

Surgery, 2018, embroidery on organza, 30 x 210 cm, 300 euro

Surgery, 2018, embroidery on organza, 30 x 210 cm, 300 euro

" Impermanence means change moment by moment."
( Geshe Tashi Tsering, 2008, 26)    

The image is connected with the text: the digital image created without the use of a camera, taking the form of  printed photograms together with embroidered texts.  Which one has the stronger visual burden? The project is balancing between "nothing special' and "a peculiar tiny drop ".

Some people need a mountain to be happy, while others just a stone; some need the whole sea, where others just a spoon full of water. The self-censorship but also the question 'maybe this.... is enough for me ? 'is the core and kernel of this work.  It starts from a spoon of pepper, a handful of popcorn, a strand of hair ,  some beads of semi -precious stones and a couple of spoons of wheat milk . It has an autobiographic charge, but it is not in the direction of making use of one or another personal story, yet in the sense of asking a question towards another human being, towards the viewer.

Regret, 2016, digital print , 90 x 90 cm, 300 euro

Regret, 2016, digital print , 90 x 90 cm, 300 euro

The particular matter is associated with a certain negative emotion: irritation, anger, regret, self- grasping, but also compassion as a returning towards the self. It is maybe one way of saying that you can survive even with negative emotions as long as you can transform them in compassion turned at least towards yourself.

Scanning matter made necessary the full, focused attention, one which I imagined as a reiteration of Fox Talbot's gestures while he was preparing his first photogenic drawings, included in The Pencil of Nature. Also it implies the practice of mindfulness, which, even if not seen in the outcome, it has been required for the process to take place.

Resilience, 2018, embroidery on organza, 300 euro

Resilience, 2018, embroidery on organza, 300 euro

I was not interested in the formal aspects the images will take, but I considered the form or, better said their formlessness as a consequence of the process.

Just the decisions of presenting them large as a landscape format ( 90x90cm prints) has been seen in a dialogue of the old tradition of Pictorialism, particularly Anne Brigman. This decision opened it up towards embroidery as a minor art, where the process of the craft, the details, are absolutely necessary for creating a work. It aims towards a change of attitude, a change of priorities.

As a consequence the inclusion of the embroidered text that seem to have a personal value derived from the images - though sometimes refer to personal experience, sometimes just to imagined one- is seen as a reclaiming of balance between self and other.

It is not asking a rhetorical question, but an attempt of a dialogue based on intuition and understanding between myself and the reality of which the self is part and parcel, a reality it also constructs.

To view more work by the artist, please visit mirelaivanciu.weebly.com. You may also follow the artist on Instagram @mirelai_1.


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.