+ Currency Part 1 - University of Alabama at Birmingham

y and z –, means that the works themselves become both singular and universal.
Our expectation, or even Fudge’s assertion that the pieces actually have a historical
framework hinges on our complicity in believing this to be the case. What is most
challenging, and therefore most unexpected, is that screenprinting has so often
been used as a medium of pop and post-pop reduction, something suited for both
Warholian excess and garage band success.
More unexpectedly, Fudge’s nomenclature creates a kind of expectation that the
works themselves have identifiable sources. A brief search suggests antecedents
might be Lazlo Moholy-Nagy’s Komposition Z, or although seemingly less likely,
Wassily Kandinsky’s Komposition X. Fudge’s abstractions become complex studies