Carter Hodgkin fuses art, science and technology to explore a new language of abstraction through paintings, animations and large-scale mosaics.
Ms. Hodgkin has exhibited in the United States, Europe and Asia. Solo shows have ranged from New York, San Francisco to Tokyo, Japan. In New Delhi, India, she exhibited at Nature Morte Gallery and was U.S. representative artist at the Khoj International Workshop. Her work has been featured in group shows including “The Digital Body”, ZKM Center for Art & Media in Karlsruhe, Germany and “Excess in the Technomediacratic Society”, Musee Dole, France.
She has interpreted her paintings into the medium of glass tile mosaic. Large-scale mosaics have been created for the Mayo Clinic, Rochester, MN; Capital One Headquarters, McLean, VA and Neiman Marcus, Beverly Hills. “Electromagnetic Fall”, her permanent Public Art project for Queens College was cited by Americans for the Arts as one of the best public art projects for 2010.
In 2023, the NYC MTA Arts & Design commissioned “Infinite Orbits”, an installation of animations for 50 screens at the Fulton Center in Lower Manhattan.
Awards include the Adolph & Esther Gottlieb Foundation (2012, 2005), the Pollock Krasner Foundation (2002) and the New York Foundation for the Arts (2009, 2002, 1989). Nominations include Anonymous Was a Woman (2008, 2024) and the Louis Comfort Tiffany Foundation.
Articles and reviews of her work have appeared in such publications as Artforum, Art in America, Flash Art, Artbyte and The New Yorker. Her work is included in Art+Science Now, a visual survey of artists working at the frontiers of science and technology published by Thames & Hudson.
Her work appears in public and private collections including the the ZKM Center for Art & Media, Germany, the Zimmerli Art Museum, the Basil Alkazzi Foundation, the U.S. Art in Embassies Program, the Library of Congress and the Stanford University Art Collection,
Ms. Hodgkin holds a B.F.A. in Painting & Printmaking from Virginia Commonwealth University and lives in New York.
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Statement :
My work explores the intersection between digital technology and traditional painting, combining elements of chance, generative abstraction, and the manipulation of code.
The work draws inspiration from artists like Sol Lewitt, John Cage, and Jean Arp, who embraced procedural and chance-based approaches to art. Embracing the digital medium, I remain deeply connected to the historic tradition of painting, highlighting the continuity between the past and the present.
My work is inspired by atomic particle collisions. I use computer code as a creative tool, modifying its parameters to generate animations based on the unstable paths of speeding particles after collision. Each collision is a relatively random event of particles reacting to each other, based on behaviors such as speed, curvature and gravity.
These collisions lead to the creation of abstract forms that then transition from the digital realm to the physical world.
I extract digital files generated by the collisions and transform them for either mosaics, animations or paintings.
Color and visual textures are essential elements in my work, creating layers of depth and movement of lively particle traces spinning in space. The work becomes a mediation between the definition and dissolution of the picture plane, engaging with spatial logic in a way that disrupts traditional boundaries.
While my work is initially inspired by particle collisions, the resulting artworks evoke a sense of microscopic landscapes that may remind viewers of outer space or ocean depths.
