Louise Hopkins

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Louise Hopkins (born 1965) is a British contemporary artist and painter living in Glasgow, Scotland.

She was born in Hertfordshire, England, graduating from Glasgow School of Art MFA Programme in 1994 and from Newcastle Polytechnic in 1988.


Contents

[edit] Work

Solo exhibitions include:

and those held at:

  • doggerfisher, Edinburgh, in 2003;
  • Andrew Mummery Gallery, London, in 2003;
  • Angles Gallery, California, in 2001;
  • Galleria Raffaella Cortese, Milan, in 1998;
  • Tramway Project Room, Glasgow, in 1996;
  • Aberdeen Art Gallery, in 1994.

In 2007, she was one of six artists chosen to represent Scotland at the 52nd Venice Biennale. Other group exhibitions included new, Scottish National Gallery of Modern Art, Edinburgh, Sunday Afternoon, 303 Gallery, New York. Words, Plymouth Museum and Art Gallery in 2002, Open Country, Musee Cantonal des Beaux-Arts de Lausanne in 2001 and Pictura Britannica at the Museum of Contemporary Art, Sydney in 1997.

In 2002 she received a Creative Scotland Award.

Her work is represented in public collections, including:

  • Arts Council of England, London;
  • Aberdeen Art Gallery, Aberdeen;
  • British Council, London;
  • Jumex Collection, Mexico;
  • Museum of Contemporary Art, Sydney;
  • Museum of Modern Art, New York;
  • Scottish National Gallery of Modern Art, Edinburgh;
  • Musee Cantonal des Beaux-Arts, Lausanne.

[edit] Working process

Louise Hopkins is known for rarely making work on blank surfaces, choosing instead to start with a material that is pre-existing, and usually pre-printed, either with specific imagery or more generic graphic information. From this she develops painted or drawn marks as a way of engaging and transforming the surface.

Found surfaces that Hopkins works onto include furnishing fabric, maps, sheet music, graph paper and pages from history books.

"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."[1]
"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." [2]


[edit] References

  1. ^ From "mark making" by Fiona Bradley, in Louise Hopkins: Freedom of Information, paintings and drawings, 1996-2005, published by The Fruitmarket Gallery, Edinburgh, 2005
  2. ^ From "adjustment" by Greg Hilty, a text originally published as part of Louise Hopkins: Freedom of Information, paintings and drawings, 1996-2005, published by The Fruitmarket Gallery, Edinburgh, 2005


[edit] External links


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