Anne Mudge, a native of McKeesport, Pennsylvania earned her BFA after studying at both Idaho State University and the University of Oregon, Eugene. Her work has been exhibited nationally, and includes exhibitions at the Museum of Contemporary Art San Diego, the List Visual Arts Center at M.I.T., and the San Diego Museum of Art.
"Mudge featured in a short video by Sean Ward documenting Littoral Drift"
Commissioned by the City of Moorpark, California
This work was developed for the Arroyo Vista Recreation Center, named after
the Arroyo Simi flowing along its northern border.
In its natural state, the Arroyo Simi was an ephemeral body of water. Dry most of
the year, it collected winter runoff to eventually empty into the Pacific Ocean at
Mugu Lagoon. Over time the stream and the entire watershed of which it is a part
has changed dramatically. Today it has a year-round flow of water that comes
from many sources, including water from wastewater treatment plants, urban
runoff, and agricultural drainage.
A series of images interpreting life along the arroyo, both indigenous and
invasive, were rendered using proprietary processes of LithoMosaics and
LithoCrete. The mosaics range in size from 18" x 18" to 72" x 72". Additionally, a
bronze sculpture of a California Western Toad anchors one of two areas
featuring "Multi Sourced Seating." View more photos.
Littoral Drift was commissioned by the County of San Diego pursuant to the Board of Supervisors Policy on the inclusion of original artwork in County owned public buildings.
The seven sculptures comprising Littoral Drift are variations on a theme. Their delicately woven upper expanses contrast with darkly attenuated stems, where densely wrapped nodes suggestive of a generative principle protrude and trail off into space. The symmetrical geometries of the frameworks are offset by the randomness of hand-woven skins stretched tautly across them. Together, canopy and stem are expressions of light and dark, earth and air, contraction and release, and suggest any number of biological forms, whether aquatic or terrestrial.
Littoral Drift functions as a series of biomorphic chandeliers. Even though there are no lighting elements incorporated within them, the polished stainless steel surfaces are highly reflective. The denser and darker wire of their lower portions act as visual counterweights to the more ephemeral canopy above, activating the space they occupy with an intricate interplay of light and shadow. Photo by Jerry Manning.
Terminal One at San Diego International Airport, Curbside Seating and Pavement Enhancements
This highly visible location at the airport’s Terminal One represents one of the first experiences many travelers will have of the San Diego area. It’s therefore important to convey there something essential about this place. Not only is San Diego blessed with a rich natural environment, but it is poised on the edge of the Pacific Rim.
What I began to imagine as I developed this piece were shadows on the ground of things flying overhead. Shown on the seat tops are the fleeting images of birds that inhabit our coastline and inland areas, done in rustic terrazzo. Flying high above them are the outlines of airplanes. Here, San Diego’s vibrant technological resources meet the natural landscape. The seats are sited randomly around each of two palm trees, making each palm an oasis of calm.
Etched into the ground plane are shadows of full scale birds, for example the Great Blue Heron who has a wingspan of 77". Tide pool images drawn from representative area species, including sea stars and octopus, enhance several of the terminal entrance ways. They consist of a Lithocrete matrix of seashells, beach pebbles, recycled glass, and terrazzo imagery.
The imagery for this project was in a large part developed from the work of wildlife photographers. Check the PDF links to identify the different species represented, and for contact information for the photographers who generously supplied their work for this project. Download the PDF.
San Diego State University Transit Center, San Diego Trolley Green Line, TapRoots, and Stepping Stones at the Trolley Station, and Botanical Tracings and Universal Symbols at Aztec Green, 2005. Commissioned by the Metropolitan Transit System, San Diego, CA.
I was a design team member with Zimmer Gunsul Frasca Partnership from Portland, OR, and Estrada Land Planning from San Diego, CA, from the inception of the architectural design phase in 1999 through project completion in 2005.
The SDSU Transit Center is San Diego's first underground light rail station, and is located at the heart of the SDSU campus next to Aztec Center, the university's student activities building. Situated 40 feet below ground, the station measures 360 feet long by 80 feet wide.
For an underground station, a recollection of roots, whose delicate geometries hint at the rich environment for growth found on the university campus above. They measure approximately 18' x 6.5' x 6.5'.
Suspended ceiling and window grills: The suspended ceiling was conceived of as a transparent boundary separating the realms of above and below ground. Veiled yet still visible through the layered panels is the ceiling's infrastructure, as well as a neon light that traces the partially hidden contours of an upper ceiling. The neon's curvilinear flow echoes the stream-based imagery of the platform below. A steel grillwork covers the clerestory windows along the northwest wall of the station. Its patterns recapitulate the spiral motif in Aztec Green, and its rhythmic variations echo the movement of trains, people and ideas.
Etched into the surfaces of 60 granite "stepping stones" are symbols of various cultural and academic disciplines found on the SDSU campus. The granite stones interrupt and redirect the linear flow of bricks around them, just as ideas impact the surrounding intellectual and cultural environments.
The life of the mind engages in symbols. The circle, square, equidistant cross, triangle and spiral are universal symbols found in diverse areas of study. These primary forms also serve as unique seating areas.
A total of 45 botanical images were etched into the terraced seating areas of Aztec Green. Human ideas impact the landscape. Therefore, plants that were cultivated and/or introduced to the San Diego region during three different historical periods are illustrated. Cultures represented are the Kuumeyaay who are the indigenous people of southern San Diego County, the Californios from the Spanish colonial period, and the Anglo migrations of the early 20th century.
North Park Gateway at University Avenue and Boundary Street, "North Park Garden Gate," 1999. Commissioned by the City of San Diego, CA.
During the 1980's to mid-1990's, there was a sense of growing crisis in the community of North Park, San Diego's first suburban community built during the early part of the 20 th century. Experiencing the highest recorded crime rates of the entire city, North Park was facing decline. There was a fear that this once vital area filled with Craftsmen and Mission-style bungalows was becoming an undesirable place to live.
Activists in the North Park community began a concerted effort to reclaim their decaying business district. As part of that program, they determined it was crucial to transform the eastern entrance to the community along University Avenue. Abandoned and neglected, it was a textbook illustration of how a purely utilitarian design thoughtlessly inserted into a community's environment could profoundly effect the entire community's sense of well being.
As designer and builder of this project, I focused the design on two key elements that form North Parks' identity. First, the community is strongly identified with its association with Balboa Park, and therefore the idea of a garden. The community also has a rich architectural heritage. Drawing from its Craftsman Era aesthetic, the two gateway pergolas merge elements of the existing built environment with the idea of the garden, by wedding organically shaped "tree capitals" to a design based on the grid.
Mudge Profiled in Voice of San Diego
Excerpted from www.voiceofsandiego.org
A Sculptor's Natural Habitat: The Elfin Forest
To find sculptor Anne Mudge, you need to travel far from the arty enclaves of San Diego's Little Italy or East Village and drive all the way to Elfin Forest, a rural community outside Escondido's city limits.
Mudge shares a trailer next to a seed farm with her husband, nurseryman Gilbert Foerster, and their dog, a border collie mix named Bandit. Her small trailer home and art studio — 600 square feet and 400 square feet, respectively — are nestled toward the end of a rutted dirt road, surrounded by fields and hills. There's no street sign. No traffic, either.
"I sometimes go for days without talking to outsiders," Mudge says. Mudge, 59, describes herself as a hermit. Yet she makes public art, as well as works seen in museums and galleries. There's a contrast, even a contradiction, between the isolated way she lives and the collaborative process required for public art. And an enormous difference between where she lives and the gritty urban places where her art is installed. The contrast energizes her. Read the full article online at VoiceOfSanDiego.org.
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