Sculptor

Dominic Hopkinson

Dominic Hopkinson is a sculptor based in Leeds, UK. After graduating from Exeter School of Art & Design in the early 1990s, Dominic spent about two years working as a studio assistant for the sculptor Peter Randall-Page. He was elected a member of the Royal Society of Sculptors in 2016, and currently have a piece of work in a major exhibition in Venice as part of the Architecture Biennale 2018. The exhibition is hosted by the European Cultural Centre, and curated by Global Art Affairs. 

He currently has a studio practice based in Leeds, and is also Artist in Residence at the School of Mathematics, University of Leeds, where he conducts research into aperiodic tiling systems and their application in three-dimensional space. 

The piece on show in the sculpture park is titled “Alternative Compression” and is carved from Kilkenny limestone. It is a study in how three dimensional objects pack to fill space – the not quite spherical forms being analogous to organic cells and the process of these clustering together to form a larger shape. The shape of the original block of stone is remains defined, inviting the viewer to extrapolate the packing process throughout the whole block. 

Find out more at Dominic’s website: www.dominichopkinson.com.

Hopkinson works collaboratively with a range of scientists and mathematicians to explore and further develop his research. He explains:

“My work analyses the human capacity for pattern recognition, and how this process seems to be innate within us. I try to better understand and describe how the underlying mathematics of natural structures and forms, when abstracted by my creative process, are still fundamentally readable and recognisable as objects that contain levels of order and beauty. What is it that drives this process of recognition in a person with no specialist training in either art or science. 

The role of the irrational number 1.61803 (phi, or the Golden Ratio), and its links to Platonic geometry, closest packing theory and aperiodic tiling in two and three dimensions are all integral to my research. Why does this particular number appear in such a wide range of problems and exert such a huge level of pattern creation and order control in the natural world? The piece presented is a three-dimensional projection of a Penrose tiling, representing the potential location of atoms in a crystal lattice.” 

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