16 October - 22 November 2008
Thursday 16 October, 6-8 pm
Mummery + Schnelle are pleased to announce an exhibition of
new work by Louise Hopkins.
Louise Hopkins has always looked on painting as investigation,
both of the medium itself and of the surfaces on which she works.
These are often found surfaces, with pre-existing information
printed on them, which Hopkins seeks to transform through the
act of painting. In the past these surfaces have included patterned
furnishing fabric, maps, sheet music, graph paper and comic
Although she still uses many of these surfaces, a particular
feature of Hopkins's exhibition at Mummery + Schnelle will be
a new series of works made on pages torn from commercial magazines
advertising such things as jewellery, tools and furniture. Hopkins
was attracted to the immediate accessibility of this printed
matter as a painting surface that required no preparation. She
has always been fascinated with creating spatial depth out of
flat pattern and found in the reproductions of rings, beds,
tables and filing cabinets something inert that she could in
some way animate by the density of her application of paint.
Often in her new works the paint is a combination of correction
fluid overlaid with watercolour, which is used to both re-shape
the space of the page and to transform the printed imagery .
A good example of this is the work "Saw" , the starting
point of which appears to have been a printed magazine page
depicting a selection of saws arranged vertically according
to size, the smallest at the top, the largest at the bottom.
Into the space created by painting over part of the printed
text with white correction fluid, and thus pushing it back,
Hopkins has painted a procession of ghostly figures in black
dresses, which appears to recess into the picture plane. The
figures create a perspectival depth that changes the picture
space of the printed page.
The heads of Hopkins's figures in "Saw" seem to have been decapitated
by the saws through which they pass and in another work, "Rings"
, a number of diamond rings have been threaded with the
stubs of severed fingers. There is a dark playfulness in evidence
here and in other works in the exhibition. When this is combined
with the overtly commercial nature of the printed pages, with
their prices and incitements to buy, an attack on consumerism,
and maybe even the commodification of art, is suggested. Hopkins
is, however, ambiguous about this. She acknowledges that there
can be a social element in her practice, but sees it as being
strangely bound up with a love of painting . A fascinating aspect
of Hopkins's work is her adherence to the practice of painting
while at the same time seeming to doubt and mistrust what is
represented on the surfaces she transforms.
Louise Hopkins was born in England in 1965. She lives and works
in Glasgow. In 2007 she was one of the artists representing
Scotland at the Venice Biennale and in 2005 a survey exhibition
of her work was presented at the Fruitmarket Gallery in Edinburgh.
For enquiries, please contact
Andrew Mummery at: firstname.lastname@example.org
Wolfram Schnelle at: email@example.com
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