Bill Hudson has been an artist, at heart, since birth, but kept under wraps, mostly, until 2006 when he moved to Taos, New Mexico, to pursue painting as a vocation.
“Realist art and illustration were my main interests and focus until recently, at least in the actual creation of paintings. However, I am now approaching painting as play rather than being limited by subject matter and their familiar, defined images.
I look at the world with an artist’s eye from the time I wake up until I go to sleep. It seems like I automatically and continuously evaluate the seen world in terms of light and dark tones, color, temperature, contrast, lines, shapes, edges, textures, all of those elements we give a name to through the study of art but which we experience viscerally.
I approach the making of a painting, whether representational or abstract, from a problem-solving as well as a craftsman-like point of view. Even in representational work, I’m not interested so much in the accurate depiction of the model – whether it’s a person, still life, or landscape – as I am in putting together the elements in an interesting way so that the painting takes on a life of its own. At the outset I concentrate on tonal relationships, then shape, color, etc. The finishing considerations have to do with the texture of the paint. I’m a big fan of impasto paint application.
For that reason, I enjoy working mostly in traditional oils, because of their thickness and their ability to hold the shape of the strokes, whether with a brush, palette knife or other implement. I also like the smell of “real” paint. I sometimes use acrylics for under-painting because they dry so rapidly, and I’m currently experimenting with various kinds of gels, pastes and even spackling compound to add texture.
I have the greatest success painting in my studio. I’ve tried plein air, but my gear and the weather always seem to want to pick a fight with me.”