Carter Hodgkin fuses art, science and technology to explore a new language of abstraction through paintings, animations and large-scale mosaics.
Ms. Hodgkin has exhibited in the United States, Europe and Asia. Solo shows have ranged from New York, San Francisco, Tokyo, Japan and New Delhi, India. In India, she exhibited at Nature Morte Gallery and was U.S. representative artist at the Khoj International Workshop. Her work has been featured in group shows including “The Digital Body”, ZKM Center for Art & Media in Karlsruhe, Germany and “Excess in the Technomediacratic Society”, Musee Dole, France.
She has interpreted her paintings into the medium of glass tile mosaic. Recent large-scale mosaics have been created for the Mayo Clinic, Rochester, MN; Capital One Headquarters, McLean, VA and Neiman Marcus, Beverly Hills. Americans for the Arts cited “Electromagnetic Fall”, her permanent Public Art Project for Queens College, as one of the best public art projects for 2010.
Most recently she created an installation of animations for the NYC MTA. Entitled “Infinite Orbits”, 15 animations run on 50 screens at the Fulton Center in Lower Manhattan.
Awards include the Adolph & Esther Gottlieb Foundation (2012, 2005), the Pollock Krasner Foundation (2002) and the New York Foundation for the Arts (2009, 2002, 1989). Nominations include Anonymous Was a Woman and the Louis Comfort Tiffany Foundation.
Articles and reviews of her work have appeared in such publications as Artforum, Art in America, Flash Art, Artbyte and The New Yorker. Her work is included in Art+Science Now, a visual survey of artists working at the frontiers of science and technology published by Thames & Hudson.
Her work appears in public and private collections including the Stanford University Art Collection, the ZKM Center for Art & Media, the Zimmerli Art Museum, the Basil Alkazzi Foundation, the U.S. Art in Embassies Program and the Library of Congress.
Ms. Hodgkin holds a B.F.A. in Painting & Printmaking from Virginia Commonwealth University and lives in New York.
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Statement :
My work explores the intersection between digital technology and traditional painting, combining elements of chance, generative abstraction, and the manipulation of code.
The work draws inspiration from artists like Sol Lewitt, John Cage, and Jean Arp, who embraced procedural and chance-based approaches to art. Embracing the digital medium, I remain deeply connected to the historic tradition of painting, highlighting the continuity between the past and the present.
I use computer code as a creative tool, modifying its parameters to generate art. This approach allows me to create generative abstractions, often based on grids and matrices, pushing the boundaries of traditional painting techniques.
I manipulate code to simulate atomic particle collisions, altering their behaviors like speed, curvature, and gravity. These collisions lead to the creation of abstract forms that are then transformed into artworks.
My artworks transition from the digital realm to the physical world.
I extract digital files generated by particle collisions and transform them into mosaic formats. This involves gluing hand-painted paper squares onto canvases painted with digital noise patterns.
Color and visual textures are essential elements in my work, creating layers of depth and movement within the paintings. The work becomes a mediation between the definition and dissolution of the picture plane, engaging with spatial logic in a way that disrupts traditional boundaries.
While my work is initially inspired by particle collisions, the resulting paintings evoke a sense of microscopic landscapes that may remind viewers of outer space or ocean depths. This transformation adds depth and complexity to my artistic exploration.
The work reflects tension between technology and handcraft. It explores the relationship between algorithmic data and traditional pictorial art, bridging the digital and physical worlds. It challenges traditional notions of art and opens up new possibilities for creative expression….
