Overview

 

Recent Work

Unfettered, 2015
Unfettered, 2015

Recent Work presents highlights of new work and projects. Currently on view are selections from Blind Insights, an ongoing series of works on paper that employs a collage approach with color washes and wood elements. For Hopkins, the sculptural layering of collage evokes the "visceral" layering of emotional experiences, as well as the notion of how we relate to reality by "feeling" and "listening" to our body's DNA.   


Also, on view is a selection of work derived from the Sketchbook Series — now in the form of independent drawings, entitled Inner Navigations. In addition, upcoming in March is a new selection of work from Hopkins's Cornucopia series, a project of improvisatory watercolors.  






Wall Sculptures

Bernoulli's Song, 1996
Bernoulli's Song, 1996

Wall Sculptures represent a signature period in Hopkins' work, having evolved from a variety of materials and processes. A defining characteristic that runs throughout Hopkins' work is that of curvilinear ribs, whether in the form of hidden armatures -- as those covered with door skin or rust-stained canvas, or those exposed as looping strands of wood, or, even, skewers of wood in his collage works. They reveal an ongoing interest in the organic energy of movement -- a "creative energy" that feeds the contemplation behind his work.



See Wall Sculptures Overview.

 


Works on Paper

Orbicum I, 2009
Orbicum I, 2009

Works On Paper represents a cross-disciplinary approach; allowing for a broader range of ideas. In utilizing various mediums, such as graphite, gouache, and collage, Hopkins continues to pursue his interest in the organic energy of movement. Although, his works on paper integrate earlier sculptural ideas, they clearly seek to navigate new paths. Even when "riffing" on a theme, Hopkins is always playing with "new" circadian rhythms.



See Works on Paper Overview.


Watercolor Works

Sanguine, 2003
Sanguine, 2003

Watercolor Works are characterized by a playful inventiveness, while seeking to exploit the fluid energy of water. As such, they allow Hopkins to pursue a looser integration of his earlier sculptural ideas: sometimes referring to the organic stains of his Rust-Stained Work, and other times to the gymnast-like gestures of his Circadian Loops. Interestingly, his Watercolor Works were begun in his downtown studio in Los Angeles long before any inkling of moving to China.



See Watercolor Works Overview.


Journal

Evening Curve, 2016
Evening Curve, 2016

Journal provides an intimate glimpse into the contemplation behind Hopkins' work. Using a photo-text approach, Hopkins combines personal photographs and writings as a means for meditating on various aspects of art and life. His entries also include quotations and poetry, including his own haiku, tanka and haibun. It should be noted that the majority of his photographs were taken in Beijing, particularly from the 12th floor of his roof-top patio.



See Journal Entries.


Timelines

"Vestiges and Constructions" announcement, 1994.
"Vestiges and Constructions" announcement, 1994.

Timelines are a series of "photomontages" drawn from various sources, such as exhibition announcements, catalogue images and personal photographs, that highlight key moments in Hopkins's life and career as an artist. By no means complete, Timelines take an archeological approach by piecing together available materials like artifacts. With brief commentary, they offer a more personal background to the body of Hopkins's work.



See Timelines Overview.



Biography

Studio Portrait, 2017
Studio Portrait, 2017
Biography provides a brief summary of Hopkins’s career as an artist, along with a chronology of his work and cross-references to images of his work. A few studio portraits help correlate the evolution of Hopkins’s work over time. In addition, Biography includes quotes about Hopkins’s approach to making art and his philosophy of life as a "creative journey". For Hopkins, life and art become a seamless whole.