e":480}},{"@type":"ImageObject","url":"https://media0.giphy.com/media/v1.Y2lkPTc5MGI3NjExMGEzY2l0MjE2aGRraTFtbmtiOHZyM2twaDhpbHptMDMwOHRiMWZwYSZlcD12MV9naWZzX3NlYXJjaCZjdD1n/3o6ZsWUI2EjIUDGAV2/giphy.gif","height":{"@type":"QuantitativeValue","value":334},"width":{"@type":"QuantitativeValue","value":500}}],"publisher":{"@type":"Organization","name":"GIPHY","logo":{"@type":"ImageObject","url":"https://giphy.com/static/img/giphy-be-animated-logo.gif","width":"300","height":"300"}}}28:T738,

"I tried to maintain some freshness by shifting what it is I’m looking at in order to create a different process of looking at something that would give me a new kind of interpretation."
—Tim Hawkinson

Artist Tim Hawkinson, our current 100 Artists featured artist, explores several themes consisting of music, sounds, expression, and even his own body. As shown here, Hawkinson combines his face and facial expressions in a mechanized sculpture, Emoter (2002), which was included in the Whitney Biennial in 2002. “It’s something that emotes and it’s motorized and it is an emoter.”

The complexity of his work does not stop there. His use of machines and wires were also demonstrated in his installation, Überorgan (2000)—a massive, nearly 300 feet, “bagpipe”. This scene is featured in the Art in the Twenty-First Century Season 2 episode, Time (2003)

WATCH: Tim Hawkinson in Time [available in the U.S. only] | Additional Videos

(Please welcome Roberto, our Bloomberg Philanthropies/Studio