What the participants say
“I thought I did not know how to draw. I thought I had no talent. This weekend changed everything!”
“I learned more in this workshop than I did in all my years of study at Art School.”
“ I learned what it meant to draw – and to enjoy it!”
“I had high octane in my system for weeks after your workshop. When I describe it to my friends I refer to it as Miracle Grow. Outstanding.”
“Fantastic experience. Thank you. I especially liked being able to work in the studio at night. Studio space, models, food – all A+”.
“I felt part of an enormous creative energy: the energy of working artists alone in their studios, yet cooperating in an endeavor larger than themselves”.
“As in the past, this has been an energizing, centering experience. The space, models, and instruction are all outstanding.”
“I made great discoveries about my work with him. A terrific amount was accomplished in a week. He is totally involved and interested in the class.”
“Very intuitive energetic, thoughtful man… devoted to our development. It seemed to me that everyone in his workshop moved to a new place unique to the person – what more could you wish?”
What the critics say
“Tim Hawkesworth has attained a fluency and surety in his painting that marks him as one of the most important painters of his generation.”
PATRICK MURPHY Curator Irish Arts Review Autumn 2006
“Hawkesworth’s Mayo Drawings brings to mind a cumulative layering of personal and communal histories. But rather than dwelling on notions of tragedy or disinheritance or loss, he infuses his historical terrain with tremendous generative potential.”
AIDEN DUNNE Irish Times Oct. 4th 2006
“Timothy Hawkesworth’s small graphite drawings manage to create a distinctive centripetal density of their own. Mr. Hawkesworth’s overriding themes seem to be liberty constrained, nervous lines act as a metaphor for imprisonment.”
HOLLAND COTTER. The New York Times. 1993.
“Mostly close-valued hues reconnoiter throughout the gray-rose continuum, recalling Philip Guston’s palette in his late Abstract Expressionist phase; But Hawkesworth’s gestures pack a greater wallop than Guston’s. Abrupt and tough, they bolt together the lumpy segments of his paintings’ considerable length into an affecting lyricism.”
W. NOEL SUTER. The New York Review of Art.
“Hawkesworth’s drawings from the Birth Series are for connoisseurs of abstraction. These figures might well be the best works of expressionism made this time around.”
DAVID BONETTI. Boston Pheonix and San Francisco Chronicle
“His way of working draws on the methods and the sense of emotional necessity that motivated earlier periods of expressionism. This approach is modernist to the core, believing in the fusion of form and content. As such it conveys one of the desires for painting at the present; to return to its primary concern for deep existential meaning even as these concerns are de-emphasized and de-valued by expressionist painters of other persuasions.”
ELIZABETH SUSSMEN. Curator ICA Boston & Whitney Museum, New York.
“Infused with humanitarian spirit and done by an artist unafraid of his own perceptions. Hawkesworth is a significant painter, all right.”
VICTORIA DONOHOE the Philadelphia Inquirer.
“The surface, the scrummed paper, the cuts and scribbles, the erasures, the feel of an overall work, gobbles the image and we get really penetrating art.”
J. BOWYER BELL. Review: The Critical State of Visual Art in NewYork.