Grace Hopkins works are conventional photographs that have as their motivation not subjects, but those elements that elevate the greatest paintings: surface, texture, shadow, light, and color. Her vision brings these works to a canvas in a way that is often indistinguishable from painting, creating something that is intellectually resonant in a way that traditional photographs are not.
In a 2014 review of her work in The Banner, Susan Rand Brown called Hopkins: “A photographer with the eye and soul of a painter,” and said “Hopkins creates an image by isolating a fragment of something larger, perhaps a wall, textured and brightly lit, or flickering in shadow. Hopkins’ images ask that we take nothing for granted. We are jolted into seeing the smallest detail, something we would rush past, as something unexpected, marvelous and, by Hopkins’ positioning the camera just close enough to enlarge the image without distortion, something quite grand. Hers is a vision rooted in a pure form of abstract expressionism. The images she shoots suggest the sharply angled details of a Franz Kline, geometric shapes and flat colors of her father (Budd Hopkins) or a sudden burst of translucent layers, which could have been – but definitely are not – details from a collage by Robert Motherwell. Suddenly a viewer feels surrounded by the freshness of expressionist imagery and motion, each piece different, each piece elusive yet quite original.”