As commented by Saul Ostrow in a review of a show at I-20 Gallery that included this piece, “Dudley’s works appear at first to be monochromes, but they really aren’t. The colors range from a decoratively appealing palette of whites, to saturated yellows and violet and blue metallic (metal flack-looking) pigments. Liminal shifts of color and tone produce noticeably different spatial and perceptual effects. In part this is because Dudley used industrial lacquers with a Murano anti reflective coating, whose application in different directions catches the light in a distinct manner. The destabilizing effect of the paint, the shape, and the convex surface emphasize the integral relationship between each painting’s physical size, materiality, composition, and form. The slightly bowed surface causes shifts in color, or appears to. In some cases, such as in Sky Prism, or the vertical Violet Prism, a spectral effect (or halation: a bright patch of light) has been painted into them. In Murano I, II, and III, the color shifts respectively take place at the edges or inversely down the center. These effects at first look as if they are a result of reflection or refraction due to the slight bowing of the work’s surface, rather than Dudley’s intentional intervention into the literal nature of the work.”
