Observational painter Abigail Dudley visiting PCA&D March 4
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Thursday, February 27th, 2025
Not every artist knows from the time they’re young that that’s what they’re going to pursue.
Abigail Dudley is one of those artists: making the move from science to fine art painting, and noting the connections between the two.
After making that creative switch, the observational painter earned her BFA from The Pennsylvania Academy of the Fine Arts in 2021. She has exhibited extensively since then, and has been the recipient of numerous awards and grants to further her work. Dudley visits Pennsylvania College of Art & Design on Tuesday, March 4, for a 12:45 pm Artist Talk in the Atrium. We asked the artist about her preferred mediums, her studio setup, and what ignited that switch to pursuing a creative career:
Your CV states that you started your higher education experience studying biology — what inspired your switch to this creative career? Does that background impact your subject matter and how you work today?
Abigail Dudley: Yes! I started out studying biology when I first started college, but I eventually switched to painting as it was something I loved to do and wanted to devote more time to. I think meeting other artists and seeing how seriously they took their work and how fulfilling it was for them helped me realize that it was a viable path to take in life. I think there are a lot of crossovers in art and biology.
What is it about working in oils that appeals to you (in contrast to other mediums in which you work, such as waterolor, etc.)
AD: I love working with oil paints because they are so versatile! From the beautiful, jewel-like quality of a Vermeer painting to the intense way that Frank Auerbach builds up his paintings, I am inspired by the vast ways oil paint responds to the hand and eye of an artist. I think oil paints have great potential to meet and grow with the demands of my perceptual investigations in painting.
Likewise, regarding your work in watercolor: what draws you to that medium?
AD: I enjoy working with watercolors for the exact opposite reason I work in oils. Watercolor paintings, for me, are all about preserving the luminosity of the paper and letting that shine through in the final image. Watercolors encourage me to respond quickly to my painting process and subject simultaneously. It forces me to make more succinct decisions and to see them through, versus in oil paints where I tend to shift and change my ideas in the painting frequently and drastically.
“Half a Dozen”, oil on linen, 18x24in.
The work on your website that is oil on linen, on board, on aluminum… can you talk about how you choose which you’re going to use for a specific piece?
AD: The variety of materials sometimes comes from what I have on hand, and sometimes, they are for very specific reasons. For example, I like aluminum panels because I can cut it into specific shapes that I couldn’t buy at a store. Mounting Linen onto boards and aluminum is something I do if I want to really build up the paint as the surface handles it better than stretched linen for me. Mounting the linen to a panel helps if I want to paint while I travel. I simply bring primed linen with me and I mount it later when I want to present it to help save room and weight when traveling.
What is your studio like?
AD: In my studio, I tend to have a lot of paintings in progress at any given time which is helpful and overwhelming at times. I think having a lot of paintings in my studio helps fuel my imagination and helps the paintings be in conversation with one another. I often get ideas for one painting while I am working on a different one.
What creative material or materials is/are your absolute favorite to use?
AD: Of course, I would have to say oil paints! Although I have been painting for a while now, I still am discovering what oil paints I like the most. Each brand is slightly different. I often like to buy random colors and brands to compare them. I have colors that are staples on my palette and others that are constantly changing.
You can learn more about the artist, too, in this 2024 interview with Hyperallergic.
Top image: “Heart to Heart” (cropped), oil on panel, 24x30in.
Inset image: “Holly on Orange Chair” (cropped), oil on linen mounted to aluminum, 25.5x38in.