{"id":51,"date":"2024-02-18T19:29:25","date_gmt":"2024-02-18T19:29:25","guid":{"rendered":"https:\/\/janxhopkins.com\/?page_id=51"},"modified":"2025-07-15T11:32:25","modified_gmt":"2025-07-15T10:32:25","slug":"about","status":"publish","type":"page","link":"https:\/\/janxhopkins.com\/index.php\/about\/","title":{"rendered":"about"},"content":{"rendered":"\n
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about<\/h4>\n\n\n\n
\"automated<\/figure>\n\n\n\n

An overwhelming excess of possibilities is a common challenge in our information-saturated age, where the sheer abundance of choices can lead to paralysis rather than freedom. Instead of seeking to channel this excess, I choose to embrace the complexity, allowing my work to develop organically in response to the multitude of questions and challenges I encounter as they occur, so that the act of making is not just a means to an end but a continuation of my analytical  journey\u2014an unbounded opportunity to think deeply through research and experimentation.<\/p>\n\n\n\n

I deliberately move away from traditional notions of art as a vehicle for personal expression, social utility, or market-driven outcomes. The work becomes an intrinsic manifestation of inquiry, where the process of exploration is more essential than any finished piece.<\/p>\n\n\n\n

By staying attuned to the ever-shifting landscape of possibilities, I hope to reveal something that resonates with the complexities of individual and shared experience and fosters a deeper connection to the world around us.<\/p>\n\n\n\n

I have a special interest in a life lived with technology and work collaboratively with my partner devices under the banner – “partner not prosthesis”.<\/p>\n\n\n\n

selection of general interests, materials & methods:<\/strong>
algorithms, art history, autobiography, botany, code, collaboration, counter-culture, cultural theory, digital\/faux ecologies, ethics of technology, feminism, human\/machine partnerships, learning, literature, mathematics, memory, paradigms, pattern, philosophy, popular culture, psychology, technology, the creative process, working class culture, 1950 – 1979<\/p>\n\n\n\n

drawing, writing, research, animation, blogging, collage, documenting, electronics, installation, machine drawing, machine generated image and text, painting, physical computing, programming, publishing, sound, textiles, video, whatever the work requires<\/p>\n\n\n\n

Platform artist at Site Gallery, Sheffield, UK
Recipient of The Freelands Foundation Artists Programme
Satellite of \/ORIGIN\\FORWARD\/SLASH\\<\/a>
Studio holder at Yorkshire Artspace<\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

Exhibitions, Residencies, Projects<\/strong><\/p>\n\n\n\n

2024 – 25<\/mark><\/strong><\/p>\n\n\n\n

Re-embroidering Blackwork<\/strong> – The Highgate Literary & Scientific Institution, London
August 2024
Work taken into the collection at the V&A, London<\/p>\n\n\n\n


Studio based practice<\/strong> – Yorkshire Artspace Studios, Sheffield
A year devoted to comprehensively revising and evolving my practice, prioritizing the development of work over the pursuit of external opportunities.<\/p>\n\n\n\n

2023<\/mark><\/strong><\/p>\n\n\n\n

Re-embroidering Blackwork<\/strong> – Bloc Projects<\/a>, Sheffield
December 2023<\/p>\n\n\n\n

FIRST HAND<\/a><\/strong> at Flat Time House, London
29 September \u2013 5 November 2023 Download a PDF of the show<\/a><\/p>\n\n\n\n

Definitions of Drawing II<\/a><\/strong> – Sunny Bank Mills, Leeds
August \u2013 September
<\/strong>Curated by Court Spencer<\/strong><\/p>\n\n\n\n

The prism of the feminine:
machines, oocytes, wires, potions<\/a> <\/strong><\/em>
Curated by Joana Neves<\/strong> in partnership with Frac Picardie<\/strong>
Drawing Now Art Fair, Carreau du Temple, Paris<\/strong><\/p>\n\n\n\n

In the Same Breath<\/a><\/strong> – Freelands Foundation, London
March – May<\/p>\n\n\n\n

INTERFACE: Art\/Technology\/Collaboration<\/a><\/strong> – Site Gallery, Sheffield<\/strong><\/p>\n\n\n\n

<\/p>\n\n\n\n

2022<\/mark><\/strong>
Intergraphia Series 1<\/a><\/strong>
networm()moving_data (through the so[u,i]l) \u2013 Publication by Intergraphia<\/a><\/strong> Books<\/p>\n\n\n\n

PLATFORM 21 \u2013 Soft Loop \u2013 Site Gallery,<\/strong> Sheffield
February – March 2022<\/p>\n\n\n\n

2021<\/mark><\/strong>
Platform Residency at Site Gallery<\/strong>, Sheffield as part of the Freelands Foundation Programme<\/strong> for emerging artists<\/p>\n\n\n\n

\/ORIGIN\\FORWARD\/SLASH<\/strong> \u2013 net art commission \u2013 Flat Time House, <\/strong>London 
Blue Scampi \u2013 Wompspace<\/strong>, Sheffield<\/p>\n\n\n\n

2020<\/mark><\/strong>
FABS Residency at S1 Artspace<\/strong>, Sheffield

Artists Books Now<\/strong> \u2013 presentation at The British Library<\/strong>, London<\/p>\n\n\n\n

2019<\/mark><\/strong>
Lates \u2013 National Science and Media Museum<\/strong>, Bradford \u2013 AI Lit Bot with Found Fiction, Leeds
A Strange Weave  of Time and Space II<\/strong> \u2013 curated by Jeanine Griffin \u2013 Lincoln University
A Strange Weave  of Time and Space<\/strong> \u2013 curated by Jeanine Griffin \u2013 Site Gallery, Sheffield
Interrupteur<\/strong> \u2013 Guest Artist for Emma Bolland \u2013 Sheffield University
Leeds Writing Festival<\/strong> \u2013 Machine Learning mash up\/ Lit bot \u2013 interactive mini project
International Artists\u2019 Book Fair<\/strong>, The Tetley, Leeds \u2013 work in collection<\/p>\n\n\n\n

2018<\/mark><\/strong>
Platform 18 \u2013 (Mis) Information<\/strong> \u2013 Millenium Galleries
Turn the Page<\/strong> \u2013 Norwich \u2013 Artists\u2019 Book Fair
International Artists\u2019 Book Fair<\/strong> \u2013 featured artist
Luminosity<\/strong> \u2013 touring Rural Exhibition \u2013 Cumbria with Highlights
Phantom exhibition<\/strong> curated by Jeanine Griffin \u2013 Bloc, Sheffield<\/p>\n\n\n\n

Background<\/mark><\/h4>\n\n\n\n

Coalminer’s daughter from Barnsley
Graduated Newcastle Polytechnic in 1989 \u2013 Fine Art
MA Fine Art \u2013 Sheffield Hallam University \u2013 2019
Career as educator, teaching in a variety of settings including primary and secondary school, before a return to art practice in 2016<\/p>\n\n\n\n

Instagram<\/strong>: @janxhopkins
Contact me<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

about An overwhelming excess of possibilities is a common challenge in our information-saturated age, where the sheer abundance of choices can lead to paralysis rather than freedom. Instead of seeking to channel this excess, I choose to embrace the complexity, allowing my work to develop organically in response to the multitude of questions and challenges […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"wp-custom-template-mama-template-page","meta":{"_crdt_document":"","footnotes":""},"class_list":["post-51","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/janxhopkins.com\/index.php\/wp-json\/wp\/v2\/pages\/51","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/janxhopkins.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/janxhopkins.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/janxhopkins.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/janxhopkins.com\/index.php\/wp-json\/wp\/v2\/comments?post=51"}],"version-history":[{"count":75,"href":"https:\/\/janxhopkins.com\/index.php\/wp-json\/wp\/v2\/pages\/51\/revisions"}],"predecessor-version":[{"id":2007,"href":"https:\/\/janxhopkins.com\/index.php\/wp-json\/wp\/v2\/pages\/51\/revisions\/2007"}],"wp:attachment":[{"href":"https:\/\/janxhopkins.com\/index.php\/wp-json\/wp\/v2\/media?parent=51"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}