Range

About:

"Range is an embodiment of my work and process – a wide open pasture filled with different but adjacent styles, mediums, and concepts. Rather than trodding forward in one steady direction, I have been zig zagging. Made up and imagined scenes flow into scenes based off captured moments, while city imagery progresses more and more into abstraction. Perspective is warped and twisted, yet constantly pulls at the viewer to enter each scene. People appear, just as a glimpse. A movie set is created. Range simultaneously shows how my practice explores and enjoys each one of these tangents, whilst also creating a clear line of the overall push forward in how I develop my style."

- Charlie Hudson

Charlie Hudson (b. 1991) is an Australian-American artist whose paintings and sculptural constructions examine the experience of place and the unstable relationship between perception and memory. Moving between landscape and cityscape, Hudson builds his compositions through successive layers of gestural brushwork, color, and geometric form, transforming observed environments into images that hover between recollection and invention.

Rather than approaching landscape as a fixed subject, Hudson considers the ways an environment is absorbed over time. Architectural structures, roads, fields, bodies of water, vegetation, and expanses of sky are fragmented and reorganized across the picture plane. Forms emerge, overlap, and occasionally dissolve into one another, creating compositions in which spatial relationships remain deliberately unsettled. The resulting works retain recognizable elements of the places from which they originate while resisting straightforward representation.

This tension between observation and reconstruction is central to Hudson’s practice. His paintings frequently begin with places he has encountered directly, yet the process of painting progressively distances the image from its source. Perspective becomes elastic; colors intensify or depart from their naturalistic counterparts; structures are simplified into planes and patterns. What remains is less an image of a particular location than an accumulation of impressions—an attempt to articulate how a place persists after the experience of it has passed.

Hudson’s interest in perception extends to the physical construction of the paintings themselves. In his dimensional works, layered panels project from and recede into the picture plane, translating pictorial depth into actual space. These interruptions complicate the conventional distinction between painting and object while requiring the composition to be experienced from multiple positions. As the viewer moves around the work, forms align and separate, making perception itself part of the image.

Across Hudson’s practice, the natural and built environments function less as opposing subjects than as interconnected systems. Patterns found in architecture echo those of fields, waterways, and vegetation, while organic forms take on the repetition and geometry of the city. Through these correspondences, Hudson considers landscape as something continuously constructed by physical intervention, by movement through space, and ultimately by memory.

Born in Australia, Hudson lives and works in New York City. He studied studio art at the University of Vermont and has exhibited in New York, Vermont, Miami, Sydney, London, and Bali. Alongside his studio practice, Hudson has produced public artworks and murals internationally, including a permanent mural at Burlington International Airport. His work is represented in New York by Ki Smith Gallery.