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Equilibrium (Deco)
The Equinoxes 
Archival Print on Kodak Paper with Screen Print Ink Overlay | (Four Pieces) Each 36" x 72" | 2010
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Equilibrium (Deco) #1
Archival Print on Arches Watercolor Paper
24" x 24"
Edition of 3
(Edition of 1, 36" x36")
2008
Equilibrium (Deco) #2
Archival Print on Arches Watercolor Paper
24" x 24"
Edition of 3
(Edition of 1, 36" x36")
2008
Equilibrium (Deco) #3
Archival Print on Arches
Watercolor Paper
24" x 24"
Edition of 3
(Edition of 1, 36" x36")
2008
Equilibrium (Deco) #4
Archival Print on Arches Watercolor Paper
24" x 24"
Edition of 3
(Edition of 1, 36" x36")
2008
Equilibrium (Deco) #5
Archival Print on Arches Watercolor Paper
24" x 24"
Edition of 3
(Edition of 1, 36" x36")
2008
Equilibrium (Deco) #6
Archival Print on Arches Watercolor Paper
24" x 24"
Edition of 3
(Edition of 1, 36" x36")
2008
Equilibrium (Deco) #7
Archival Print on Arches Watercolor Paper
24" x 24"
Edition of 3
(Edition of 1, 36" x36")
2008
Equilibrium (Deco) #8
Archival Print on Arches Watercolor Paper
24" x 24"
Edition of 3
(Edition of 1, 36" x36")
2008
Equilibrium (Deco) #9
Archival Print on Arches Watercolor Paper
24" x 24"
Edition of 3
(Edition of 1, 36" x36")
2008
Equilibrium (Deco) #10
Archival Print on Arches Watercolor Paper
24" x 24"
Edition of 3
(Edition of 1, 36" x36")
2008
Equilibrium (Deco) #11
Archival Print on Arches Watercolor Paper
24" x 24"
Edition of 3
(Edition of 1, 36" x36")
2008
Archival Print on Kodak Paper
Equilibrium (Deco)
Equilibrium Series (Deco) In the Equilibrium (Deco) series, Hudson juxtaposes two movements in the history of art and design – Minimalism and Rococo – opening up each piece to the viewer’s own interpretations on the depths of decoration, pop art, trend and pattern. Hudson’s work explores balance, symmetry and harmony and their relationship to contemporary society in a post-painterly minimalist style.
Hudson’s use of geometric form and a limited palette would typically classify his works as abstract. However, the artist’s use of color is often pointedly symbolic and representative of different segments of the world’s population. Therefore, the shape, position, and size of the colored forms become a comment on race, class, stereotypes and identity.
Hudson’s experimentation with positive and negative space in this series reveals a more intricate intersection between geometric and curvilinear shapes. Vibrant colors and high contrasts present precise visions of order and balance, inviting the viewer to come closer. However, the conflict and tension created by layers of contrasting color and form are not incongruous. The various shapes and colors are artfully combined to conjure up a positive, multifaceted and realistic outlook on the future of relationships between seemingly disparate components of society.