Installations
“Forced to the wall, my one-word characterization of Dudley Zopp becomes seeker. Or, given a few additional words, I could say ‘Not a passive observer.’ The ceramic sculptor Peter Voulkos had a sign prominently displayed on his studio door: ‘Day Sleeper.’ Definitely not Dudley. To her formidable energy and sense of purpose, one must add her appetite to possess her surroundings — thus her great and appropriate interest in installation art, and in stalking her environment.”
—Harold Thurman, Emeritus Professor of Art, University of Massachusetts Boston
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Erratics
My personal take on making an installation is that I should respond to the exhibition site, and that the components should refer to a world outside the exhibition space, where geology collides with painted simulacra.
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Early Erratics
Following a residency in Newfoundland, it was the fortuitous discovery of red rosin paper, or builder's paper, that made possible the first Erratics installations at the Center for Maine Contemporary Art in 1997.
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Reading the Landscape
When I began exploring landscape as visual subject matter, I thought of the world around me as written in code, a code that if cracked would allow me to know the meaning of the universe.
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sediments
The sediments installations are an ongoing project that reveals evidence of human activity in layers of geological silt.
“. . . an impressive group of Maine-based sculptors who have been pushing the sculptural envelope. I think of artists like Dudley Zopp, Lauren Fensterstock, Noriko Sakanishi and Celeste Roberge. . . . We have a lot to brag about.”
—Carl Little, Melita Westerlund’s Wonder World