This website is a portfolio of my work, the majority of which was created from 2014 to present. Since I began painting for exhibition in 2001, I have been inspired by symbols of communication. Most recently, that inspiration has fallen into two categories: billboards (“land-marks”) and correspondence (“paper-marks”). Both subjects explore time and memory while offering a sense of mystery. Further description is provided below, however each piece of artwork holds more stories than one page can tell.
LAND-MARKS: The Landmarks section consists of two categories: Structures and Message Series.
Structures are inspired by roadside billboards and drive-in theater images–those giant artboards that demand our attention. I strip the faces clean of advertising, and in it’s place I illustrate deteriorating textures or empty planes to describe the passage of time. Nature is the only presence interacting with the subject, occasionally threatening to reclaim it’s space. I plan to further explore a more abstracted, fragmented narrative within the gridwork of the structures’ facade.
The Message Series originated from my belief that people connect personally to specific letters and numbers, each for their own reason. To expand the concept beyond single-letter decorative art, I begin with one long poetic billboard phrase. Only choosing to paint non-repeating letters from the group of words allows the message to remain obscured.
PAPER-MARKS: In this series, I am exploring an abstraction of handwritten material and correspondence. I contemplate how documentation gives permanence to an idea or feeling while memory’s malleable nature might have already shifted through the passage of time.
I've recently relocated from Portland, Oregon to New England. I am a 2001 graduate of Savannah College of Art and Design, with a BFA in Illustration and a BFA in Graphic Design. I also attended The Illustration Academy hosted at Ringling College of Art and Design in 2009. A list of exhibitions can be found under the Where & When section.
2015, Short review of “Bangkok Billboard” by Maria Medua, Director, Artist Gallery, SFMOMA
The billboard is a great subject matter for a painter -- reflexive, providing a picture within a picture, and bringing to mind everything from mass media to the contrast between high and low art. Tudyk chooses a fairly generous scale of 40 inches tall to emphasize sweeping vertical lines that form a complex system of trusses arising from an overgrown light yellow field. The billboard is a grid of sumptuous colored rectangles, including one in an unforgettable indigo blue. Beautiful fracture lines draw attention to the surface, aging it, setting it in time, and giving it a past as well as a present existence that is palpable.
The no-nonsense title, “Bangkok Billboard,” signals that the work should be read formally not narratively. It doesn’t much matter that the structure is in Thailand, but its name does have a nice alliteration. With 14 rectangles across and six down, the billboard offers 84 miniature paintings that could be inspired by everything from the minimalism of Robert Ryman to the pop culture collages of Robert Rauschenberg. However, “Billboard” shares more in common with pieces by Jasper Johns.
A complicated, overwrought old framework holds something up before us. Seven lamps are perched at the top of the sign. These cast curious corresponding shadows downward. The source of light is vague. We very quickly become aware of the job diagonals do. In the foreground, a roughed out base of ochre partially obscures the bottom of the scaffolding. The background is a grey-blue and indeterminate sky.
While billboards are a form of commercial art used by advertisers, “Bangkok Billboard” sells no product. Instead it offers us a matrix of colors -- whites, greys, and umber, the colors of underpainting. Traditionally, grids are used as a way to manage complexity. The artist assigns visual information to quadrants that can be tackled one by one and eventually come together as a whole to depict something. Many artists, including Jasper Johns have deconstructed the picture plane and played with how the grid and the diagonal can interact without creating perspectival representation. “Billboard” has fun with a lot of these ideas. Portrayed at an angle, and propped up on a network of brown lines, the image can be read as an object in three dimensional space. However, there is no need to stop there, when the shapes are so pleasing, the colors wonderful and the verticals that directs our gaze upward are so satisfying.
Director, Artists Gallery