By Tim Hawkinson
“Ove” appears to seemingly call forth, at first glance, the graphic masterpieces of Bridget Riley and other luminaries of the Op Art movement. In reality, however, unlike the lines that compose Riley’s “Horizonal Vibration” from 1961, for instance, or the hard-edge, precise bands that make up the geometric prints of Donald Judd, Hawkinson’s lines are not really lines, or bands, at all; rather, they are drips. And because of this, there are irregularities, tonal variations, and shifts in value. Subsequently, the drip drawings on which the artist has based his project have a greater affinity with Agnes Martin’s hand-drawn lines and grids and Pat Steir’s series of “Waterfall” paintings.