Peter Frank

LA Weekly

August 20 -24,  2004


A sly and nasty physicality drives Peter Hopkins’ abstract paintings. Their formal vacuity and contrasting optical beauty, even seductiveness, argues with – and bemoans the supposed “end” – or at least endgame – of painting, much as Gerhard Richter’s  work does. But Hopkins’ paintings are not empty of content – or at least contents. Fabricated from “social fluids” that have been applied “over” (as opposed to the usual “on”) canvas, the three luminous surfaces on view here also incorporate sheer fabric, reflective holographic foil, and medical, industrial and domestic cleaning materials – stuff that you’d expect to be stashed in a utility closet not hanging out in an painter’s studio. Hopkins has been goosing the art-life boundary for a while now, constantly asking himself, and us what comprises that boundary, whether such a boundary is integral or inimical to human perception. End of painting, indeed.

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