Known for her extensive work stockpiling industrial materials into premeditated patterns, Hope’s pieces incorporate profoundly complex ideas like numeracy, binary code, and planned obsolescence, as well as the inherent properties of the materials themselves: magnetism, weight, reactivity, reflectivity, and the capacity to dissolve and mutate. In some of her works, luminous shotgun pellets cover a wall or an entire room. In other pieces, tightly packed iron filings combined with crack detection powder are surprisingly sumptuous and velveteen. Whether mounted on the wall or extended throughout a room, Hope’s works focus on the properties that frame emotion. Although contained and delimited, her works suggest eternity, limitlessness, and totality. The magnetic force of attraction/repulsion is a reflection of human relationships; the properties that give shape to the work reflect those properties within the viewer.
The artist has also explored the conceptual possibilities of the can tab as an emblem of consumption, desire, and the urban myth. Since finding 700 pounds of individual tabs in a recycling bin, Hope has been sorting and attaching hundreds of thousands of them, exploiting their cultural and aesthetic references, and transforming their obsolescence into forms that weave in and out of tab’s iconic meaning.
Hope holds a MFA from Yale University and her work has been exhibited since the late 1980s. She has created numerous public and residential commissions including a large-scale work titled, “Under the Radar” at Camp Hero State Park in Montauk, New York for the Parrish Art Museum. In her 2013 Armory Show Project, Hope was commissioned by the fair to create two public works; one panel repeats the binary code for love, and the other is based on the binary code for blind. In 2014 she inaugurated the WNYC Greene Space artist-in-residence program. She was also the artist in residence at the Museum of Art and Design in 2015.