Emily Hawkins (°1993, New Hampshire , United States) makes photos, paintings, drawings and sculptures. With Plato’s allegory of the cave in mind, Hawkins often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
Her photos are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By choosing mainly formal solutions, she absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation.
Her works directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. With a conceptual approach, she tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.
Her works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. In a search for new methods to ‘read the city’, she finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
Her works are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. By contesting the division between the realm of memory and the realm of experience, she creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.
Her works are an investigation into representations of (seemingly) concrete ages and situations as well as depictions and ideas that can only be realized in photography. By questioning the concept of movement, she tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
Her works doesn’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. By applying abstraction, she focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
Her collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, she makes work that deals with the documentation of events and the question of how they can be presented. The work tries to express this with the help of physics and technology, but not by telling a story or creating a metaphor.
Her works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. Emily Hawkins currently lives and works in Philadelphia.
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