End Credits for a Misaligned World

End credits for a misaligned world, Savina Hopkins, 2025. 

Photo by Stephanie Duncan

I let your verbs defeat me, Savina Hopkins, 2025. 

Photo by Stephanie Duncan

Luckily it just missed my ephemeral artery, Savina Hopkins, 2025. 

Photo by Stephanie Duncan

I believe in monotonous relationships, Savina Hopkins, 2025. 

Photo by Stephanie Duncan

Don't let uncertainty be something you can fail at, Savina Hopkins, 2025. 

Photo by Stephanie Duncan

Time to vacuum up those moth-eaten memories under the bed, Savina Hopkins, 2025. 

Photo by Stephanie Duncan

Insomnia is no match for hypervigilance, Savina Hopkins, 2025. 

Photo by Stephanie Duncan

Quietly the English languish, Savina Hopkins, 2025. 

Photo by Stephanie Duncan

These works were created and exhibited during my residency project, End Credits for a Misaligned World, at correspondences. Sales inquiries: info@correspondences.work

Installation view at correspondences, photo by Stephanie Duncan

Installation view at correspondences, photo by Stephanie Duncan

To hear these options again, press 9

To hear these options again, press 9 

2024 - series ongoing, dimensions variable

(scissors, legal tape, bias binding, cord, thread, ribbons bandages, rags)

Installation detail at correspondences, To hear these options again, press 9, 2025, photo by Savina Hopkins 

Installation detail at correspondences, To hear these options again, press 9, 2025, photo by Savina Hopkins 

Nature > strip > garden > bed

Installation view at Retractable Art Space, Nature > strip > garden > bed, Savina Hopkins, 2024 

(photographic print on cotton, bias binding, thread)

i-SPY

Wing Attack, 2024
(wood assemblage) 

Say Cheese, 2024
(wood assemblage, photo by Andrew Curtis)

i-Spy, 2022
(wood assemblage)

Lime Splice, 2024
(wood assemblage, photo by Andrew Curtis)

Bullwinkle, 2024
(wood assemblage, photo by Andrew Curtis)

Marco Polo, 2024
(wood assemblage, photo by Andrew Curtis)

I Want Candy
(wood assemblage, photo by Andrew Curtis)

Shazbot, 2024
(wood assemblage, photo by Andrew Curtis)

Tuppence a Bag, 2024
(wood assemblage, photo by Andrew Curtis)

L > R: Little Lunch 2021, Hot Gossip 2021
(wood assemblages)

Shelter  Shed, 2024
(wood assemblage, photo by Andrew Curtis)

Screen / Time

Votive No. 4, 2022
(digital photograph)

Votive No. 3, 2022
(digital photograph)

Votive No. 2, 2022
(digital photograph)

Votive No. 1, 2022
(digital photograph)

Persona Obscura

L - R : To Ada, 2015, Miss Constance Worth, 2015
(photograph, bandaids, linen, acrylic paint, mountboard)

L - R : Betty, 2015, Dear Sir, 2015
(photograph, bandaids, linen, acrylic paint, mountboard)

L - R : Eileen & Maude, 2015, Rafaellina, 2015
(photograph, bandaids, linen, acrylic paint, mountboard)

L - R : Esther, 2019, Grace, 2015

(photograph, bandaids, linen, acrylic paint, mountboard)

Family band-aid portraits

Mum
(band-aids, paper, linen, pencil and acrylic on linen canvas)

Mum & Dad, 2013
(band-aids, paper, linen, pencil and acrylic on linen canvas)

Dad, 2013
(band-aids, paper, linen, pencil and acrylic on linen canvas)

Daughter / Sister, 2013
(band-aids, paper, linen, pencil and acrylic on linen canvas)

Close Quarters

Unwatched Channel, 2013
(collage on paper, 39 cm x 39 cm)

Soundings, 2013
(collage on paper, 39 cm x 39 cm)

Slight Pitch, 2013
(collage on paper, 39 cm x 39 cm)

Headway, 2013
(collage on paper, 39 cm x 39 cm)

Universal Secret, 2013
(collage on paper, 39 cm x 39 cm)

Inlet / Outlet, 2013
(collage on paper, 39 cm x 39 cm)

Custom Bearer, 2013
(collage on paper, 39 cm x 39 cm)

White Bluff, 2013
(collage on paper, 39 cm x 39 cm)

Magnetic Deviation, 2013

(collage on paper, 39 cm x 39 cm)

Present at the Parade, 2013
(collage on paper, 39 cm x 39 cm)

Dymo Portraits

False Dichotomies (detail), 2012
(vinyl embossing tape, paper)

Subsumed  (detail), 2012
(vinyl embossing tape, paper)

How Long, 2012

(vinyl embossing tape, pencil, paper)

Handcuffed to a Ghost, 2012

(vinyl embossing tape, paper)

New Bandwidth, 2012
(vinyl embossing tape, pencil, paper)

Hell is a Sparrow, 2012

(vinyl embossing tape, pencil paper)

Punching a Cloud, 2012

(vinyl embossing tape, pencil, paper)

No Morals, 2012

(vinyl embossing tape, paper)

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Penny Webb has written a review of my Dymo portrait series in The Age newspaper (Wed Jan 20th, 2013, pg 13).
'Small Works Get Up Close and Personal for a Big Impact' - P. Webb

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Bad drawings, 2012
(vinyl embossing tape on board)

Something New, 2012

(found photograph, vinyl embossing tape)