Violet Hopkins’ drawings and paintings combine layers of appropriation with both a visceral realism and an expressive sense of fantasy. Often inspired by found images of the natural world, Hopkins uses ink, paint, and pencil to conjure vivid scenes that seamlessly incorporate figurative and abstract elements. Her subjects – wild animals, geological formations, flora – transform into abstract patterning, membrane-like forms, and hallucinatory movements. Her renderings of line and color highlight the drawing process, while allowing shifts in consciousness between the real and the imagined. Her works fuse an external world of nature with a psychic world of symbolism and allegory.

Violet Hopkins (El Paso, TX 1973) lives and works in Los Angeles. She holds a BFA from the University of Texas at Austin, and an MFA from the California Institute of the Arts, Valencia.


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Selected Bibliography

Knight, Christopher. "Art Review: California Biennial at the Orange County Museum of Art." Los Angeles Times. 6 Jan. 2011. Web.

Russeth, Andrew. "In New York: Gallery Openings this Weekend." Artinfo. 20 Apr. 2010. Web.

Sholis, Brian. "Violet Hopkins: Foxy Production." Artforum. Oct. 2009: 240.

Tumlir, Jan. " Los Angeles: Drawing in L.A." The Judith Rothschild Foundation Contemporary Drawings Collection - Raisonné. New York: MoMA, 2009. 26-35.

Walleston, Aimee. "Ground Control." Interview. 26 May. 2009. Web.

Griggs-Saito, Katrina. "Violet Hopkins: Lux, Lumen." The Japan Times. 29 May. 2008.

Patterson, Tom. "A Profusion of Pleasure." Winston-Salem Journal. 31 Dec. 2006.

Spiegler, Marc. "LA Art Is Here To Stay." The Art Newspaper. 8 Dec. 2006: P.1.

Wagner, James. "Violet Hopkins at Foxy Production." 7 Nov. 2006. Web.

Brooks, Amra. “Violet Hopkins.” Artforum. Sep. 2006: 385-386.

Pagel, David. "Summer Sampler Has a Dark Side." The Los Angeles Times, 8 July 2005: E26.

Finkel, Jori. "First Come the Dealers, and Then the Diplomas." The New York Times, 3 July 2005: 22-23.

Cotter, Holland. "Dealers Gather at the River, Convenient to Lofts with Bare Walls." The New York Times, 11 Mar. 2005: E46.

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