Tim Hawkinson Born in San Francisco in 1960#, Tim Hawkinson has produced quality works of art for nearly 2 decades, adding and subtracting from reality through a myriad of ingenious and creative methods. His many themes vary from biomorphic masses to structured industrial objects. These forms tend to intimately communicate to the viewer through contemplation and emotion, yet sometimes they are quiet. Many of his forms don’t necessarily work with emotion but instead build interest through an industrial quality by using unusual materials. Bird, committed in 1997 is a small, accurate looking skeletal frame of a small bird constructed entirely by gluing clippings of the artist’s nails together. This is unusual when you understand what the material used is, but when glancing at it briefly, the slightly off white color of the nails appears to be very bone-like. This is a good example of the explored industrial quality he commonly uses, while there isn’t a real piercing message or connection from the piece, it still has strong spatial and structural qualities.# A very dominating piece he committed for the ACE gallery in Los Angeles, Uberorgan, is a large scale installation flowing through multiple rooms. Its name literally speaks for itself, a giant kinetic form with many different bladders that contract and expand blowing air across reeds to produce actual sound. The Bladders narrow down to what would be organ pipes, yet these tubes shoot off to there own destinations, twisting and going parallel to one another, than suddenly jutting into a separate rooms. The Bladders and their connected tubes keep shape from a skeleton of wires, forming a basket weave around the bladder and more of a uniform spiral down the length of the many tubes. With pliable, transparent sheet plastic for the piece’s walls, the bladders have a very organic skin-like quality. The piece overall is very biomorphic yet the bladders especially appear very primordial as if they belong under a microscope. Uberorgan is very dominating and controlling through its movement and sound. The piece’s tubes are inviting with direction, pulling viewers down a hall, yet at the same time are usually suspended at eye level or higher constantly demanding attention. As mentioned before, Tim Hawkinson employs many different concepts through his artwork. Sonic produced in 2004, shows very understandable meaning and emotion. 3 identical baby forms, cast out of fiberglass and bronze appearing as white green and red. The grabbing aspect of the forms are the incredibly large ears, just about twice the size in length from top to bottom compared to that of the baby’s. Right away there is a certain immediacy among the communication to the viewer showing warning, almost wanting to say “watch what you say around me” or even simply describing how highly sensitive babies are in general. The color variation plays its role successfully too. The bleached white of the first cast shows purity and feels less dense in comparison with the others. The green has more of a hard stone appearance nad seems very cold and lifeless. The red not only contrasts to green but has the color range of blood. This red doesn’t come off as very dark or sinister but more lifelike and realistic in the sense that the baby is still inside a womb. Tim Hawkinson’s variation in theme is far and wide, letting an audience explore a variety of different angles in comprehesion through a very constructive imagination.