Text | Clyde Hopkins

Catalogues

Clyde Hopkins and Friends
A Path through Dark and Light
Clyde Hopkins by Clifford Chance
Brown Madder – Recent Paintings
Vodka, a stiff breeze and paranoia
same as it ever was. Painting at Chelsea 1990 – 2007
Clyde Hopkins – New Work
British Abstract Art
British Abstract painting 2001
British Contemporary Art
Hayward Annual
Kunst Europa
Colour boundary
Clyde Hopkins Paintings
Scratching the Surface
Sea Voices – Contemporary British Painting
Delight
Recent British Painting
the colour show
Francis Graham Dixon
winchester painters
Invaluable
Uncaught Hares
Made in Greenwich

Selected Essays

Brandon Taylor, 2012
C. Wainwright and C. Hopkins, 2003
Sacha Craddock, 1998
Bryan Robertson 1990

“…Wobbly rectangles all connecting, configurations within configurations, hot colour, imitation surfaces and real surfaces, dots and flat areas, emerging silhouette shapes that recall splashy hieroglyph figures by Miro, and funny island and bay contours that suggest garden evocations by Patrick Heron (they might be earnest homages to Heron or wry jokes on the cult of him): this is all in Clyde’s stuff. Plus the feeling of Robert Motherwell’s Little Spanish Prison (the constructed, charming side of Abstract Expressionism), the feeling of Stuart Davis’s awesomely solid American-style Cubism, Patrick Caulfield’s understated English suburban Pop art, USA cartoons, The Flintstones, funny westerns and towns with the word Gulch in the name: he gives you all these layers of pleasure. ”

Hello Painting © Matthew Collings 2007
from Scratching the Surface Catalogue

“…the merit of any work of art lay in its capacity for disturbing the spectator’s equilibrium – for presenting him or her with a vision of defiance, sometimes brutal and sometimes gentle. That is more or less how I see Hopkins’ new paintings. They are serene and gentle in certain parts, nervous and anguished in others. In certain respects they fall into a conservative mold – certainly adhering to the tenets of large-scale abstraction painted in an avant-garde-ish spirit. Yet in other ways they conform to a more unfamiliar and more daring tradition: the quasi-political tradition of more or less open disgust.”