Karen Patterson

I was truly excited about all the artists who applied for the Hopper Prize. Not only did I think that the the caliber of work so high, being able to see all the works together in one place allowed me to track some interesting connections. The range of applicants offer us a map of what is currently being explored and revealed in contemporary art practices, and the Hopper Prize represents a compelling chart. As I looked through all the applicants, I was delighted to see a few related themes percolate. Clever interdisciplinary and material rich practices, keen observational works that are translating our societal experiences with innovative methodologies, and an overarching sense of vulnerability and benevolence.
 
In order to hone in on the awardees, I found myself drawn to artists who are resolving their own abstract and formal visual vocabulary. Certainly both Nicholas Moenich and Trish Tillman are engaging with a lineage of abstraction, however I was enthusiastic about the ways in which they ground that knowledge in everyday experiences. There was something both familiar and slightly away from us in their works, and I was really sucked into that tension.

Moenich seems to be abstracting something recognizable, in some works it feels like he is contouring text or landscapes. But there is also a textile, haptic quality to his work that also feels akin to quilting and embroidery. They feel mysterious, and I loved that.

I was intrigued with the ways in which Tillman’s work felt ritualistic, and devotional. To me, it felt as though the works are tributes to loved ones, or cherished things. They are strong, like a rock n roll poster. But they are also childlike and full of tenderness. They drew me in, and I wondered about the stories they told.