Louise Hopkins does not work on blank canvases
Using pre-printed material whether it be music sheets, maps, comic books, she plays with representation by painting over and obscuring the original material and thereby changing it. "looking for a way to disrupt or re-work what's already there".
Influenced by cubism.
I like the quirky, simple quality to the work. It can be enjoyed just for the visual patterns and shapes but there's an added intrigue from her choice of materials that she's choosing and how covering up rather than revealing works. Her titles are relevant at times. Named freedom of information one of her exhibitions was full of beautifully 'censored' images.
I first saw her work in the amazing book of (mainly) contemporary drawings collected in themes by Tania Kovatz.
Soemthing intriguing about how she's chosen what to leave visible and what to obscure.
Layers and monochrome and repetition are what seems to be most obvious in the drawing work I've done over the last few months.
I first saw her work in the amazing book of (mainly) contemporary drawings collected in themes by Tania Kovatz.
Soemthing intriguing about how she's chosen what to leave visible and what to obscure.
Layers and monochrome and repetition are what seems to be most obvious in the drawing work I've done over the last few months.
 |
| Black Sea 2003 acrylic on ink 80x126.5x2.5cm |
Bio from website
Since the early 1990s, Louise Hopkins has used furnishing fabrics, maps, song sheets, comics and pages of magazines to create works that address the process and problems of representation. Her project is to transform existing surfaces into paintings or drawings, taking them from the everyday world and giving them a new status. With an experimental approach, she starts with her own physical gesture to explore colour, form and mark-making, using pencil, ink or paint, and often produces several versions before fixing on the final composition. The relationship between the original and new surface is ambiguous. The printed materials she chooses often have social or political associations. The certainty that maps, shopping magazines or manufactured textiles might offer seems to be questioned when they are transformed into a painting or drawing.
Since the early 1990s, Louise Hopkins has used furnishing fabrics, maps, song sheets, comics and pages of magazines to create works that address the process and problems of representation. Her project is to transform existing surfaces into paintings or drawings, taking them from the everyday world and giving them a new status. With an experimental approach, she starts with her own physical gesture to explore colour, form and mark-making, using pencil, ink or paint, and often produces several versions before fixing on the final composition. The relationship between the original and new surface is ambiguous. The printed materials she chooses often have social or political associations. The certainty that maps, shopping magazines or manufactured textiles might offer seems to be questioned when they are transformed into a painting or drawing.
Work
- "The artist has spoken of her interest in working on supports which contain information, often an image, and in turning that image into a painting by repainting and hence remaking it."[3]
- "Louise Hopkins’s world is in an endless state of flux, becoming and adjustment. Meaning for her is never something to be merely established-through research, for example, or contemplation-but rather galvanised, sparked into a state of pulsing iteration and reiteration…In an indicative work, Untitled (011), 1998, she once crumpled a piece of white paper, the kind generally used to write or type or scribble or photocopy on. She acted not in anger or frustration but to make the paper more interesting, yet not less itself. To the same end, she then used a fine pencil to draw thin parallel marks delineating the faint shadows cast by the creases. The paper’s once latent complexity was unleashed. Its pristine (artless) past remained a presence beneath the surface. Through a set of effects, both accidental and intended the blank sheet had become defined, articulated through hard-edged incident; it also continued to carry the dynamic tension of its violent collapse."
Bio
Born Hertfordshire
Born Hertfordshire
| 1965 Born in England Lives and works in Glasgow | |
Education | |
1992-94 1985-88 1984-85 | M.A. Glasgow School of Art, Glasgow B.A. (Hons) Newcastle upon Tyne Polytechnic, Newcastle Brighton Polytechnic, Brighton |
Gallery representation:
mummery and schnelle
references
2. Freedom of Information, paintings and drawings, 1996-2005, published by The Fruitmarket Gallery, Edinburgh, 20053. The Drawing Book Tania Kovatz
4.http://www.mummeryschnelle.com/pages/artists.htm
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