"Each piece and each direction have an approach. They’re not really rules. They’re more sorts of parameters or a process—a way of filtering out other things that aren’t really concerned with the idea I’m working with—and, I guess, by a strict adherence to the process, it creates a certain distortion. But it’s also what art is—the distillation of the idea. What I’m shooting for is just to stick with whatever that idea is and play it out till it’s totally this pure form."

Tim Hawkinson, Art:21

Tim Hawkinson, Pearl Vision. 2005.
Strapping Tape on Cardboard on Panel
"By applying strapping tape in concentric rings, keeping the fibers of a given ring parallel to each other, and shifting each ring a few degrees in relation to the previous ring, the illusion of a surface ripple was created." -Ace Gallery’s website

Tim HawkinsonPearl Vision. 2005.

Strapping Tape on Cardboard on Panel

"By applying strapping tape in concentric rings, keeping the fibers of a given ring parallel to each other, and shifting each ring a few degrees in relation to the previous ring, the illusion of a surface ripple was created." -Ace Gallery’s website

Tim Hawkinson, Untitled (Chicken), 2005.
Chicken Skin & Wire

Tim HawkinsonUntitled (Chicken), 2005.

Chicken Skin & Wire

Tim Hawkinson, Bear. 2005.
"For the Stuart Collection, Tim imagined a bear constructed of boulders. Eight granite stones - torso, head, ears, arms, and legs - were found locally.  Together they make a bear 23’6" feet high with a total weight of 180 tons. Bear sits in the spacious Academic Courtyard formed by three signature engineering buildings: Atkinson Hall of the California Institute for Telecommunications and Information Technology, the Computer Science and Engineering Building, and the Powell-Focht Bioengineering Hall.  First proposed in 2001, assembly of the sculpture took place onsite in May 2005 and the landscaping was completed in November 2005.  Bear looks simple but was a sophisticated transportation and engineering feat. The process of placing and securing the boulders together was complex and unusual - actually unknown - in the construction world.” - UCSD’s Stuart Collection
julienfoulatier:

Tim Hawkinson, Bear. 2005.

"For the Stuart Collection, Tim imagined a bear constructed of boulders. Eight granite stones - torso, head, ears, arms, and legs - were found locally.  Together they make a bear 23’6" feet high with a total weight of 180 tons. Bear sits in the spacious Academic Courtyard formed by three signature engineering buildings: Atkinson Hall of the California Institute for Telecommunications and Information Technology, the Computer Science and Engineering Building, and the Powell-Focht Bioengineering Hall.  First proposed in 2001, assembly of the sculpture took place onsite in May 2005 and the landscaping was completed in November 2005.  Bear looks simple but was a sophisticated transportation and engineering feat. The process of placing and securing the boulders together was complex and unusual - actually unknown - in the construction world.” - UCSD’s Stuart Collection

julienfoulatier:

Tim Hawkinson, Sweet Tweet. 2004.
Fiberglass & Polyester Resin

Tim Hawkinson, Sweet Tweet. 2004.

Fiberglass & Polyester Resin

Tim Hawkinson, Sonic, 2004 
Fiberglass & Polyester Resin

Tim HawkinsonSonic, 2004 

Fiberglass & Polyester Resin

Tim Hawkinson, Fruit. 2004.
Unique Photographs on Foamcore on Panel
The fourth generation of hands sprouting from hands spell out the words love, joy, peace, patience, kindness, goodness, faithfulness, gentleness, and self-control. - Ace Gallery Los Angeles

Tim Hawkinson, Fruit. 2004.

Unique Photographs on Foamcore on Panel

The fourth generation of hands sprouting from hands spell out the words love, joy, peace, patience, kindness, goodness, faithfulness, gentleness, and self-control. - Ace Gallery Los Angeles

Tim Hawkinson, Laocoon. 2004.
Monster-Tire Blowout Made of Paper, Wire, String, Foam Rubber
labelleabeille:

Tim Hawkinson, Laocoon. 2004.

Monster-Tire Blowout Made of Paper, Wire, String, Foam Rubber

labelleabeille:

Art:21 interviews artist Tim Hawkinson about some of his pieces, including Uberorgan and Emoter.

inspirartory:

"

California-based artist Tim Hawkinson is known for taking everyday materials and altering them in imaginative ways, creating works that address broad issues about the intersection of human consciousness, nature and technology. Here, he employed a mix of found objects and common household materials—including twist ties, craft wood, staples, and packing material—which he transformed almost alchemically into a complex and awe-inspiring sculpture.

Echoing the working methods of ship-in-a-bottle hobbyists, Hawkinson created a painstakingly detailed model ship that twists in upon itself, presenting the viewer with a thought-provoking visual conundrum. The title is a witty play on Herman Melville’s novel Moby Dick, which famously relates the tale of a ship captain’s all-consuming obsession with an elusive white whale. The ambitious and imaginative structure of Hawkinson’s sculpture offers an uncanny visual metaphor for Melville’s epic tale, which is often considered the ultimate American novel.

Möbius Ship also humorously refers to the mathematical concept of the Möbius Strip. Named after a nineteenth-century astronomer and mathematician, the Möbius Strip is a surface that has only one side, and exists as a continuous curve. Its simple yet complex spatial configuration presents a visual puzzle that parallels Hawkinson’s transformation of the mundane materials into something unexpected.

"

Indianapolis Museum of Art Gallery Label of Tim Hawkinson's Mobius Ship

Tim Hawkinson, Möbius Ship. 2006.
wood, plastic, Plexiglas, rope, staples, string, twist ties, glue
filthymoraldisease:

Tim Hawkinson

Tim Hawkinson, Möbius Ship. 2006.

wood, plastic, Plexiglas, rope, staples, string, twist ties, glue

filthymoraldisease:

Tim Hawkinson

"

Emotor falls into the category of body depiction—references to the body—like the bathtub-generated piece and balloon self-portraits that I’ve done. But it’s much more about mechanics and probably closer to a piece I did that synthesized voice using really primitive methods. Emotor uses the expressions of the face that are so cued into reading the face. I took a picture of myself and cut the features up into little pieces, like a puzzle, and rearranged the features. And each time I did it, I created a different emotion, and that’s just something I read into it. 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.

I was interested in using random signals, in this case generated by a television screen. And the screen had lights instead of switches. So, if there was a dark area on the screen, it would turn the signal on, and a light signal would shut it off. Just on and off, nineteen different on and off signals. There are nineteen wires for the nineteen switches and the nineteen motors in the face, all connected with Velcro. The initial idea was just taking random input and converting it into something. Originally I was thinking of making a three-dimensional realization, this kind of instant bas-relief sculpture. That was sort of interesting but still too abstract. 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. I’m using my face, but I don’t really consider it a psychological self-portrait or anything like that. I can’t make most of these faces myself.

"

Tim Hawkinson, speaking about his piece Emoter to Art:21

Tim Hawkinson, Emoter. 2002.

altered ink-jet print, monitor, stepladder, and mechanical components. 

(via aclockworkcoconut)

"Sometimes we do get rain in L.A. A lot of us aren’t really prepared. The studio has areas in the ceiling that sometimes will leak. And it was really great, just walking into the studio one time, and there were buckets around, all catching the drips. It just had a great sound in the space. So, I was interested in using dripping water, some way. I didn’t want just random drips; I wanted something that really felt like something you could dance to, something choreographed-sounding. So, I ended up making this almost computerized abacus. It was a machine that was sort of a drumming machine. It generated different rhythmic patterns. It was hooked up to solenoid valves, and each time the valve was triggered, it would allow a drip to drop into a bucket, creating a resonant plop. Each bucket had its totally different resonance, so it was a kind of sound piece."

Tim Hawkinson, speaking about his piece Drip to Art:21

Tim Hawkinson, Drip. 2002.
polythene, mechanical component, and water
The water droplets make a drumming noise!  To hear this piece check out The Pace Gallery’s website.

Tim Hawkinson, Drip. 2002.

polythene, mechanical component, and water

The water droplets make a drumming noise!  To hear this piece check out The Pace Gallery’s website.