It just had a great sound in the space. Anybody looking at it would read into this, would reinterpret it, as I think we all pretty much interpret the same basic emotions—frowning, smiling—but I was interested in seeing how much inflection and emotion I could get out of the face using a random input of signals.
The plastic—well, I think it was originally just, like, some Reynolds Wrap that I had twisted up, and I liked the way it took its form. I downloaded a drumming machine on my computer, and I was trying to figure out how I could get something that would generate these random patterns but would still have this choreographed sound to it.
The initial idea was just taking random input and converting it into something. This interview was originally published on PBS.
Save videos to watch later, or make a selection to play back-to-back using the autoplay feature. Each bucket had its totally different resonance, so it was a kind of sound piece.
There are certain recurring interests in my work and ways of looking at things, maybe having to do with the way I get ideas and the way ideas are formed—really obvious categories.
There were these drawings that were almost reminiscent of intestines or worms. Then I started thinking about imagery and the face and how any kind of input into the face—no matter how irrational or un-patterned—would still create something we can decipher, look at, and read and get some sort of message from.
Originally I was thinking of making a three-dimensional realization, this kind of instant bas-relief sculpture. And the screen had lights instead of switches. What led you to creating that piece?
Courtesy Ace Gallery, Los Angeles. It was a machine that was sort of a drumming machine. One of these little wires sending a signal from the gear will get triggered through that. There are nineteen wires for the nineteen switches and the nineteen motors in the face, all connected with Velcro.
So, I was interested in using dripping water, some way. And it was really great, just walking into the studio one time, and there were buckets around, all catching the drips.
What is the inspiration behind Drip? But at the same time, that process abstracts them and brings them away from a normal body so much that they no longer look like the original form. That was sort of interesting but still too abstract.
There are mechanical interests and kinetic work, a fascination with moving parts—just the magic of seeing this kind of animation and making it happen. And so, I was interested in exploring that or trying it out on different scales.
A lot of times different interests overlap. So, if there was a dark area on the screen, it would turn the signal on, and a light signal would shut it off.
A lot of the body pieces that I do are concerned with measuring the body or presenting the body in this extremely specific way.Video Responses: Tim Hawkinson Art Appreciation What did you know about Tim Hawkinson?
Tim Hawkinson was born in San Francisco in He graduated from San Jose State University and got MFA at the University Of California. In today’s Exclusive, filmed inTim Hawkinson gives a tour of his sculpture exhibition at Pace Gallery in New York City.
About ART21 Season 8: Art in the Twenty-First Century. Art in the Twenty-First Century provides unparalleled access to the most innovative artists of our time, revealing how artists engage the. Artist Tim Hawkinson discusses his installation Drip, his installation Emoter, and the similarities between the two.
Tim Hawkinson's (b.
San Francisco) idiosyncratic creations are meditations on nature, machines, mortality, the body and human consciousness.
Since the s, the artist has used common found and store-bought materials, handcrafted objects, a. Wikimedia Commons has media related to Tim Hawkinson. The Pace Gallery Biography, interviews, essays, artwork images and video clips from PBS series Art -- Art in the Twenty-First Century - Season 2 ().Download