An exploration of the boundaries of spectatorship, play within the gallery, and functional sculpture.
The malleable sculpture acts as both furniture and artwork, its ‘sitters’ both participants and performers.
Through play and movement, or simply through the imprinted mark of their bodies from sitting, the participating viewer moulds the work, enabling its constantly changing aesthetic.
The work questions the level to which visitors interact freely and instinctively, within the formal space of a contemporary art gallery.
It is a succession of dialogues: beginning between artist and environment, and transgressing into a wider conversation between sculpture and situation, audience and artwork.
The act of delivering the sculpture out of the studio, the gallery, and directly into the environment from which it was inspired became ceremonious, performative: a deliverance of a sculptural eye, consuming its surroundings into one centrifugal orifice whilst simultaneously itself in a state of engulfment.
Sculpture in a Pocket: a photographic series documenting a continual project undertaken throughout the duration of the five month residency.
A fabric disc taken from the United Kingdom to Réunion Island, kept upon Hudson's person at all times throughout her travels, Hudson applied it to her ever changing surroundings, allowing the landscape itself to mould the renewable sculpture. Primarily unable to communicate verbally, Sculpture in a Pocket became symbolic of Hudson's developing relationship with her new surroundings and culture, a visual statement of communicable presence.
After five months of sculptural documentation, the sculpture was left in Réunion Island upon Hudson's return to the United Kingdom, as a ceremonial mark of the end of the project.
(Selection of images from the series)