Carter Hodgkin's work transforms atomic particle collisions into line and color to create animations, paintings and large-scale mosaic installations.
Hodgkin’s work has been exhibited at museums and galleries in the U.S., Europe, Japan and India. She has been awarded fellowships from the Adolph & Esther Gottieb Foundation, the New York Foundation for the Arts and the Pollock-Krasner Foundation.
Americans for the Arts cited her permanent Public Art Project “Electromagnetic Fall” as one of the best public art projects for 2010. Her work is included public and private collections including the U.S. Library of Congress and the U.S. Department of State, the Jane Voorhees Zimmerli Art Museum and the Basil Alkazzi Foundation.
Her work is included in Art+Science Now, a survey of artists working at the frontiers of science and technology. She teaches at Parsons/The New School.
Since the 1980’s, my work has incorporated ideas from science and imaging, crossing boundaries between digital media, drawing and painting. Living in San Francisco in the late 70’s, I experienced the microcomputer revolution emerging from Silicon Valley where encoding images into bits and bytes impressed me as an important extension of the approach to form by artists such as Sol Lewitt and Dorothea Rockburne.
My current work is based on visualizations of energy, inspired by particle physics and forms in nature. Fusing painting and physics, I create works which trace movement, energy and space.
Using code, I simulate particle collisions to create hyper-energetic works composed of thousands of dots. Colliding particles reveal structures and patterns of movement within invisible forces; conjuring phenomena such as fireworks, waterfalls, vortexes and eruptions.
In the paintings, layer upon layer of overlapping dots and lines are hand-painted until they coalesce into iconic form. My latest works range from colored pencil on paper to acrylic ink on board.
My animations play out the act of painting dot by dot, giving the viewer an experience of forms growing, dissipating, and dissolving. Drawing in space and time, the animations slow down the act of viewing to become meditative. On large LED screens, the animations become large–scale paintings that move.
I have interpreted my paintings in large-scale commissions through the medium of glass tile mosaic. Using one small tile for each pixel in an image, the historic tradition of mosaic is brought into a contemporary digital vernacular.
Negotiating between stasis and movement, the work charts a metaphoric territory where gesture, line, motif and color bring drawing and painting into architectural space. Binding together concepts of time and process, they represent an interaction with space to map transitory forces that compel progression and growth.