text by David Rohn
Kathleen Hudspeth’s mono-prints, “It Was to Be a Glittering City” at Under the Bridge has a focused iconography, mostly representing the increments of construction: curved roof tiles (first used in China and later throughout the ancient Mediterranean), and concrete blocks, the most widely used building material in this region. There s also a classical baluster on it’s side, suggesting a kind of languid, uncontested decline.
The good news is that the show exudes a kind of acquiescent serenity, a wonderful sense of release, as if allowing oneself to succumb to the soft resonant palette of the works, a kind of subtle sense of intimacy, due possibly to the simplicity of the subjects, and the careful way the show is hung, makes things ok. If you get a chance, stop in, take a deep breath and let it go.
Right or wrong, the show seems to suggest that seductive aesthetic values, can heal, even if they seem ridiculously useless against the violent imbalances that seem to surround us. The images of the increments of buildings are elements that when united and assembled, create structure, shelter, safety.
Maybe the point is that with all the emphasis given now to violence, discord and separation, fine, Fine Art, can still be a respite that can define a particular situation, and still transcend the fear-based aspects of it.
Decline and Fall aren’t ‘good’, but they have to be accepted and assimilated and maybe the possibility to rebuild, to re-assemble, can eventually begin to happen.
Under the Bridge
North Miami, FL
12425 NE 13 AVE #4