“Across this body of painting/sculpture hybrids, my methodology is cyclical and digressive, patterned and simultaneous: on riverbanks and pavement, sand, soil, and soot, in any place I take up residence in, I find myself as the mudlarker, beachcomber, gleaner, waste picker. I walk with eyes oriented downwards, and work tethered to the ground, speculatively sorting and composing, repetitively picking, peeling, containing.  Fragments are mended and joined, transformed and preserved in material binders. I see these gestures in alignment with craft traditions and queer, feminine visual aesthetics historically associated with excess, waste, repair, and reuse. As much as my practice measures then reworks my own consumption of matter, I am focused on more generally considering how humans develop reciprocal relationships with the in-human, object, or refuse under social conditions of excess, isolation, or instability. I consider how bringing our bodies into closer proximity to the microscopic, the material realities of our surroundings, inadvertently exposes underlying sociopolitical and environmental conditions.”

​

Clare Hawkinson (b. 2003, Los Angeles, CA) is a recent graduate of the Rhode Island School of Design, where she received a BFA in Painting with a concentration in Literary Arts. She has exhibited her multi-media works in numerous group exhibitions in Providence and Los Angeles at student galleries and artist run spaces; her poetry has been published in journals including Volume 1 and Graphite Interdisciplinary Arts Journal. She was a resident artist at Dumfries House (East Ayrshire, Scotland) with the Royal Drawing School, summer 2025. Hawkinson has now returned to live and work in her hometown Altadena, continuing to reflect upon the ongoing implications and aftermath of the Eaton fire.