Artist has made work
responding to “a potent and paradoxical space”
responding to “a potent and paradoxical space”
A new artwork by the
leading artist Louise Hopkins has been unveiled on the central wall in front of
the Mackintosh Building today, 24 October 2017. A 2.5m high and 12.2m long
digital print on metal, Dance Number,
was specially commissioned by the GSA and is the artist’s largest work to date.
leading artist Louise Hopkins has been unveiled on the central wall in front of
the Mackintosh Building today, 24 October 2017. A 2.5m high and 12.2m long
digital print on metal, Dance Number,
was specially commissioned by the GSA and is the artist’s largest work to date.
“We are delighted to showcase a new work by one of our acclaimed MFA
alumni, Louise Hopkins ” says Professor Tom Inns, Director of The Glasgow
School of Art. “We see the wall between the
Mackintosh Building and the street as a space which can demonstrate the
creativity for which The Glasgow School of Art has been renowned since its
foundation in 1847.”
alumni, Louise Hopkins ” says Professor Tom Inns, Director of The Glasgow
School of Art. “We see the wall between the
Mackintosh Building and the street as a space which can demonstrate the
creativity for which The Glasgow School of Art has been renowned since its
foundation in 1847.”
“Louise has created a work that responds both to the space in which it
is sited and to the work which is going on around it.”
is sited and to the work which is going on around it.”
“Louise Hopkins is known for pieces that relate to a specific context
and for work that explores the relationship between painting and printmaking,”
adds GSA Exhibitions Director, Jenny Brownrigg. “There is also an element of destruction and reparation in her practice
that chimes with what is happening to the Mackintosh Building.”
and for work that explores the relationship between painting and printmaking,”
adds GSA Exhibitions Director, Jenny Brownrigg. “There is also an element of destruction and reparation in her practice
that chimes with what is happening to the Mackintosh Building.”
For Hopkins, the
outdoor space in which the work is sited is both paradoxical and potent with
its contrast between the historic building and a modern building site, and between
the public face of the restoration and the hidden nature of what is happening
in the Building.
outdoor space in which the work is sited is both paradoxical and potent with
its contrast between the historic building and a modern building site, and between
the public face of the restoration and the hidden nature of what is happening
in the Building.
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Dance Number, a specially commissioned work by Louise Hopkins
Photo: Alan Dimmick |
“I was struck by the juncture between the early 20th century
building and the 21st century objects and processes used in the
restoration process, and was particularly drawn to both the grid created by the
scaffolding and the colours, structure and different qualities of surrounding
signage – road signs, pedestrian barriers, contractor signs – which are an integral
part of the restoration,” she says.
building and the 21st century objects and processes used in the
restoration process, and was particularly drawn to both the grid created by the
scaffolding and the colours, structure and different qualities of surrounding
signage – road signs, pedestrian barriers, contractor signs – which are an integral
part of the restoration,” she says.
Hopkins was also
interested in the shape of the space in which the work is sited. This loading
bay, a defined area that is trapezoid in shape, has the quality of a stage or arena,
and also a barrier and demarcation between public and private space.
interested in the shape of the space in which the work is sited. This loading
bay, a defined area that is trapezoid in shape, has the quality of a stage or arena,
and also a barrier and demarcation between public and private space.
As part of the
creative process she spent time observing and describing in words the pattern
of movement made by workers on the scaffolding and people, materials and
vehicles in the street around the building site. This process became almost a
form of drawing in itself. During this observation she noticed there were
patterns and rhythms, often repeated patterns.
creative process she spent time observing and describing in words the pattern
of movement made by workers on the scaffolding and people, materials and
vehicles in the street around the building site. This process became almost a
form of drawing in itself. During this observation she noticed there were
patterns and rhythms, often repeated patterns.
These observations are
encapsulated in a colourful artwork comprising a drawn grid structure with
painted geometric shapes in blue, red and black. The shapes have been treated as
units to be reordered, manipulated, disrupted, linked, repeated and mirrored to
make a single dynamic form.
encapsulated in a colourful artwork comprising a drawn grid structure with
painted geometric shapes in blue, red and black. The shapes have been treated as
units to be reordered, manipulated, disrupted, linked, repeated and mirrored to
make a single dynamic form.
“The Mackintosh
Building is a special place,” says Louise Hopkins. “In its very particular
current state, clad with scaffolding and netting, the usually immediately
recognisable building is transformed almost to a state of non-recognition. It
is inspirational especially in its current form as it undergoes restoration.”
Building is a special place,” says Louise Hopkins. “In its very particular
current state, clad with scaffolding and netting, the usually immediately
recognisable building is transformed almost to a state of non-recognition. It
is inspirational especially in its current form as it undergoes restoration.”
“Being able to make a
work that responds to what is happening on site during the restoration has been
important for me both because of the special qualities of the Mackintosh Building,
and because of what that whole area of Renfrew Street demands in terms of its nature,
scale and activity.”
work that responds to what is happening on site during the restoration has been
important for me both because of the special qualities of the Mackintosh Building,
and because of what that whole area of Renfrew Street demands in terms of its nature,
scale and activity.”
Ends
For further information, images and interviews contact:
Lesley Booth,
0779 941 4474
press@gsa.ac.uk
@GSofAMedia
Note for Editors
Louise Hopkins is an
artist and part-time lecturer in the GSA’s School of Fine Art. Her practice
involves working with what already exists in the world; making paintings onto
surfaces that already contain information – such as world maps, patterned
fabric and pages from books. Dance Number
is her largest scale work to date. Hopkins is currently developing several
large-scale works for outside locations.
artist and part-time lecturer in the GSA’s School of Fine Art. Her practice
involves working with what already exists in the world; making paintings onto
surfaces that already contain information – such as world maps, patterned
fabric and pages from books. Dance Number
is her largest scale work to date. Hopkins is currently developing several
large-scale works for outside locations.
Hopkins has exhibited
widely overseas and in the UK. Earlier this year her work was included in NOW, Scottish National Gallery of Modern Art, Edinburgh. In 2015 a
group of 7 works were included in Dévider le réel, at Les Abattoirs, FRAC
Midi-Pyrenees. In 2014 she had a one-person exhibition
‘Black Sea, White Sea’ – part of GENERATION 25 years of Contemporary Art in
Scotland. In 2007 she was one of 6 artists who represented Scotland at the 52nd
Venice Biennale. In 2005 she had a major one-person exhibition ‘Freedom of
Information’ at the Fruitmarket Gallery in Edinburgh.
widely overseas and in the UK. Earlier this year her work was included in NOW, Scottish National Gallery of Modern Art, Edinburgh. In 2015 a
group of 7 works were included in Dévider le réel, at Les Abattoirs, FRAC
Midi-Pyrenees. In 2014 she had a one-person exhibition
‘Black Sea, White Sea’ – part of GENERATION 25 years of Contemporary Art in
Scotland. In 2007 she was one of 6 artists who represented Scotland at the 52nd
Venice Biennale. In 2005 she had a major one-person exhibition ‘Freedom of
Information’ at the Fruitmarket Gallery in Edinburgh.
Public collections
include Jumex Collection,
Mexico City; Museum of Contemporary Art, Sydney; MOMA New
York, Musee Cantonal des Beaux-Arts, Lausanne;
Arts Council of England, London and Aberdeen Art Gallery, Aberdeen
include Jumex Collection,
Mexico City; Museum of Contemporary Art, Sydney; MOMA New
York, Musee Cantonal des Beaux-Arts, Lausanne;
Arts Council of England, London and Aberdeen Art Gallery, Aberdeen