Approved: 10.08.2010

Phill Hopkins

Artist, Curator, Arts administrator, Project manager, Consultant

Archived
Approved: 10.08.2010

“Let no thought pass incognito, and keep your notebook as strictly as the authorities keep their register of aliens.”
? Walter Benjamin
Drawing is central to me. Not only is it at the core of my practise as an artist, but, possibly more importantly, it allows me to be tethered to and in the world. Moreover, these two areas are in fact one and the same.
I draw obsessively; sometimes

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  • Location: Leeds & London, Yorkshire
  • Activities: Primary education, Higher education, Further education, Adult education, Special needs education, Lecturing, Workshops, Arts in health, Disability arts, Participatory projects, Public art, Private commissions, Curating, Gallery education, Events management, Visual arts consultancy, Project management
 

Biography

“Let no thought pass incognito, and keep your notebook as strictly as the authorities keep their register of aliens.” ? Walter Benjamin Drawing is central to me. Not only is it at the core of my practise as an artist, but, possibly more importantly, it allows me to be tethered to and in the world. Moreover, these two areas are in fact one and the same. I draw obsessively; sometimes having an idea to get down on paper and at other times drawing for the pleasure (or displeasure) it brings. Drawing is immediate, sometimes dealing with narrative and at other times devoid of story. Drawing allows ideas to come into being; the channel from imagination to reality. Sculpture comes directly from drawing; seldom do I make without drawing. I use materials and images in a similar way; that is, I buy, acquire or find; self-sufficiency in the place where I live or the places I travel through and to. The image of the house, which features heavily in some of my work, is a simple statement of fact; that is, it does not put forward an argument or agenda, but rather it presents information. However, it may also act or function tacitly, making implicit arguments or statements, using a variety of means to influence the viewer. It resonates with the building up and the dismantling of my inner and the external environment. I am drawn to the feel of the house shape, that is, the porosity of its external and inner surfaces and its susceptibility which allows me to imbue it with happenings, both physical to me and directly linked to my imagination. The house is often blank or even 'speechless' and may act as an emissary; an object that discloses information, communicating knowledge of itself or something beyond.

CV & Education

Qualifications and training 1985 - Fine Art, Goldsmiths College, London Solo exhibitions 2013 - Das Wandern, 64 Wellington Street, Leeds 2013 - Recent Paint Chart Drawings, Roller Gallery, www.rollergallery.co.uk 2013 - Works from the Fukushima Series, Departure, London 2012 - 5am there - The Muammar Gaddafi Variations, Bank Street Arts, Sheffield 2011 - Place – an installation & new drawings by Phill Hopkins, HOMA, Leeds 2008 - Seven Drunken Nights, Greenbelt Festival, Cheltenham 1996 - Domestic Airspace, Brahm Gallery, Leeds 1994 - Recent Drawings, Leeds City Art Gallery, Leeds 1991 - Flyers – Recent Sculptures & Drawings, Leeds City Art Gallery, Leeds Group exhibitions 2013 - Form and Architecture, Vain & Able Gallery, www.vain-and-able.com 2013 - Neo:Artists Prize 2013, Neo:Gallery22, Bolton 2013 - Pack of Patches Gallery Artists, Galerie Root, Berlin 2013 - Works from the Fukushima Series, Devonshires, London 2012 - 12-12-12, Bank Street Arts, Sheffield 2012 - ADVENTurous, Union Chapel / Engedi, London / Colwyn Bay 2012 - Artefacts of Failure, QUAD, Derby 2012 - Engediarts - Easter Story Exhibition, Imperial Hotel, Colwyn Bay, Wales 2012 - Finished - Unfinshed, Galerie Pack of Patches, Jena, Germany 2012 - Greenbelt Festival, Cheltenham Race Course, Cheltenham 2012 - Inhospitable 1.1, 64 Wellington Street, Leeds 2012 - Liverpool Biennial 'Inhospitable' - SCIBase, Bridewell Studios and Gallery, Liverpool 2012 - Supermarket, Stockholm Art Fair, Sweden 2011 - Angels of the North, Greenbelt Festival 2011, Cheltenham 2011 - Happiness Postcard Project, Leeds City Art Gallery, Leeds 2011 - Lange Nacht Der Museen - Curated by Martin F. Lechleitner, GALERIE BERTRAND KASS, Innsbruck, Austria 2011 - 'Place' a new installation - part of the Wilderness Exhibition, Wesley Hall, Sheffield 2011 - Place for a Kitchen: an installation - On the Edge - FRINGE:Leeds, Templeworks, Leeds 2010 - Behold: Curated by Shaeron Caton-Rose, part of Feva Festival, St John The Baptist Church, Knaresborough 2010 - International Digital Media Arts Association Conference, Emily Carr University of Art and Design , Vancouver, B.C, Canada 2010 - Minutiae, Bank Street Gallery, Sheffield 2010 - Pilgrimage to Hailes, Hailes Church & Abbey, Gloucestershire 2010 - The Moment of Privacy has Passed - Sketchbooks by Contemporary Artists, Architects and Designers, Usher Gallery, Lincoln 2008 - 12 Artists , The Cafe Gallery, Henshaws Arts & Crafts Centre, Knaresborough. 2007 - Situation Leeds: Contemporary Artists & The Public Realm, Round Foundry, Leeds 2003 - 2003 Other Criteria, The Henry Moore Institute, Leeds 1994 - Sculptor’s Drawings, Cornerhouse, Manchester Residencies 2012 - Clever, BasementArtsProject, Leeds Projects 2013 - Border Crossings: Artist as Explorer, Online, UK and Columbia Publications 2012 - Soanyway 16 'Contents' in Corridor8 issue 3.3 Magazine 2011 - BlankPages: Issue 37 - http://www.blankmediacollective.org/blankpages/issue_37 2003 - Sculpture in 20th-Century Britain - essay by Bruce Bateman, Published by Henry Moore Institute (ISBN 1 900081 04 0) 1996 - Domestic Airspace Exhibition booklet - Bruce Bateman - Brahm Gallery, Leeds 1996 - Penelope Curtis & Terry Friedman, Editors, Leeds Sculpture Collections Illustrated Concise Catalogue, published by The Henry Moore centre for the Study of Sculpture 1991 - Aeroplane Dreams - Henry Moore Institute (ISBN 0 901981 48 6)