“…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.”
essay © Brandon Taylor 1985
From Catalogue Clyde Hopkins’ Paintings
Kensington and Chelsea today, April, 2012.
Art Quarterly, Autumn. 2007
Harpers and Queens, Jan. 1979
Ideal Home, Sept. 1987
Artscribe, Mar, 1986.
Independent on Sunday, Dec, 1994.
Insight, London Institute, Feb, 1998.
Independent on Sunday, May, 1994.
Time Out, March, 1998.