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[Tim Hawkinson: Family Resemblance]

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The first piece, as you walk into the space,

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is a railroad signal crossing lantern.

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We can unlock it and I can lower it for you.

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[INTERVIEWER, OFF-SCREEN] Oh, okay! That would be very...

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[HAWKINSON] An action shot.

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[INTERVIEWER, OFF-SCREEN] Yes, please!

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[HAWKINSON] I'm going to get the key.

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Could we get the key?

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Okay, there we go.

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Yeah, so...

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It's a butt-head Fresnel lens,

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using the same body molds that I used in the seahorse

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and then in the lens-mobile.

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The title is "Double Dutch".

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All the pieces in the show take their titles from Girl Scout cookies,

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and some of the cookies are retired Girl Scout cookies.

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Some are more...

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ones we're maybe more familiar with,

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like Samoa.

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Kookaburra, I think.

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But there are no Thin Mints.

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Nothing quite worked as a Thin Mint.

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My daughter Clare is a Brownie.

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A couple of months ago, she was in the process of making sales,

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going door-to-door with her list of Thin Mints

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and Tagalongs, and all that.

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My favorite is Samoa.

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I won't stick my tongue out, I just had coffee.

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[LAUGHS]

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I suppose I was working on the bronze figure--

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me with my tongue sticking out...

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The tongue sticking out had this very aggressive expression,

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like a Samoan war cry.

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I thought that would be a possible title,

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and then started looking at other Girl Scout cookie names

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as possibilities for other pieces,

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and some of them sort of fit almost like they were intentional.

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There are things in the show that I have made with Clare through time.

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She kind of has given me ideas.

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It's somebody now to bounce ideas off of,

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as well as to get this different perspective.

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She kind of appears in different guises.

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Maybe a little bit in the foot,

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which has a friendship ankle bracelet extension cord.

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I don't think that would be there if she weren't weaving me friendship bracelets

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and bracelets for her friends.

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That's Clare's bike.

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She learned to ride without training wheels.

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After she was no longer using it,

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I asked her permission to chop her bike up.

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[LAUGHS]

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She's kind of used to me coming up with these

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second lives for things lying around the house.

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The individual plates that a seahorse is composed of,

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they're called scoots.

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I wanted to use my different body impressions as all the scoots

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on the seahorse.

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So, down here are the fingers.

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Further up, thumbprints.

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The eyes are kind of bellybuttons.

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These kind of horn structures are my mouth

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just the forming of a kiss.

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You can kind of read body parts a little more clearly in the bubbles.

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You can see different skin textures.

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The largest one is my head--

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two skull caps, fit together.

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The seahorse is made out of polyester resin--

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the same material that I use to coat the animal piece,

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"Animal Treasures".

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It's a mobile.

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Each cub is balanced on the tooth of the next one.

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An infant's heart rate, within five seconds,

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will drop when it's being held by its mother or grandmother.

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There is this very, kind of, relaxed gesture there.

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This body of work is relating more to my family—

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specifically my parents.

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I mean, if you want to go personal for a moment,

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I can say that I just feel very torn being here

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because my mother is dying right now.

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You know, I reflected a lot on,

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you know, just the family relationship,

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and the embrace.

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So it has that kind of embrace,

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where each figure is placing its trust in the next generation up.