The resulting AbEx gestural documentary (a cinematographic inversion of the famous glass sequence from Namuth’s 1951 Pollock Painting) was then projected onto a vertical stretched canvas of the same dimensions as the original surface. In the other, he embedded a blank stretched canvas in a monolithic slab of cast concrete, then (eventually) proceeded to attempt to excavate it. Antics ensued. In spite of their high conceptualist quotient and canny humor, both pieces – as with all of Hawkins’ work — possessed a stark, effortless formal beauty. Here was one to keep an eye on.
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