www.carrollfletcher.com
Across his practice, Justin Hibbs picks apart the mechanics of spacial perception and representation, drawing upon social, political and aesthetic agendas encoded within architectural structures. In particular, much of his work is renegotiation of the visual language and ideological legacies of modernism, seeking to establish and question relationships between real and idealised notions of space. This enacted through a uniquely multi-disciplinary approach that incorporates painting, drawing, sculpture and architectural interventions.
Central to each of these disciplines is drawing. In Hibbs' earlier work, drawn interventions grow parasite-like from a 'host' image, creating a symbiotic relationship between the two that offers the potential for a re-imagination of existing forms. Once completed, a work's deconstruction often leads to a new form of production in an alternative format. Cyclical processes of production, re-invention and reproduction are at play. Multiple two and three-dimensional forms of representation and production form an evolutionary feedback loop that connects and interconnects various bodies of work through time.
More recently he has worked with site-specific installations and sculptures that engage directly with the specific conditions of the architectural space itself. Vinyl tape or linear wooden constructions are used as a drawing medium to translate ideas at life-scale directly onto walls, windows and physically into the space. These immersive architectural interventions allow the viewer to navigate the space and work, providing a stage set for an individual relational and perceptual response. They indicate Hibbs' ongoing interrogation of the relationships between different forms of representation, playing off the two dimensional language of the diagramatic and the structural language of three-dimensional construction processes.
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| Anti Alias 2015 |
Can you describe your practice in a few words?
My work acts as a vehicle to examine the mechanics our perceptual experiences of space and its representation across two and three dimensions.....amongst other things.
What is your earliest memory of art?
Sitting at my father's technical drawing board, looking at his strange abstract drawings of circuit boards and the innards of radio ham sets, all black lines, letraset dots, rotring pens and parallel rulers....
Have you shown your work in a non-white cube space before?
Many - lamenate wood panelled cab offices, abandoned warehouses, bankrupt shops etc. Most recently at a domestic house for the Bread & Jam series of exhibitions curated by Emma Cousin in Brockley.
What does this sort of space bring to your work?
My work considers the exhibition space as an integral element of the work itself - the specific conditions of the given space create the starting point and are as important as what I bring to it. I aim to create an encounter where the relationships between the space and the works unfold providing an alternative way of experiencing space. Working with a domestic space or a shop provides a whole reft of other histories and associations to create a dialogue or collide with.
What is the future for art outside the gallery context?
Everything and nothing.... This is an important question in the context of the art ascene dominated and driven by market Validation where the reality for most is an absence of any commercial market for their work and an increasing lack of cheap or dead spaces in the city in which to create and oxygenate their practice by experimenting with exhibitions. Working outside of the commercial system is an empowering situation where you set the rules and is becoming the only potential outlet for many precisely at the point where market forces - gentrification, increasing rents, planning laws etc. are making this virtually impossible. Resist this shit, transform an unexpected space, show in your local hairdressers.....
What was your first experience of King's Cross?
The Scala.
What is the future for art?
The hairdressers and the coffee shop...
If you could meet one artist living or dead, who would that be and why?
Sun Ra - the most inspiring musician and artist of the 20th century born on Saturn and decended to planet earth.
What is your greatest weakness?
Buying records and making art.
What was the last exhibition you visited that unnerved you?
Here I am in total agreement with Lex Thomas - the Frieze Art Fair.
What place do aspects of traditional craft play in your work?
I make paintings with pinstriping tools. Pinstriping began as a way of embellishing the industrial metal panelling of vehicles such as steam locomotives and coaches. It then became synonymous with the sub-cultures of customising cars, hot rods, vintage motorcycles, truck and surfboards etc. It's basically the venacular form of the customisation culture.
Who have been your main influences over the years, both in historical and recent terms?
Sun Ra, Fela Kuti, the myriad forms of electronic music and of course my peers....
What projects do you have coming up in the future?
'Complicity' curated by Rosalind Davis at Collyer Bristow, where I will be making a site-specific mirror installation (-this show includes some of the artists exhibiting at the Geddes Gallery). A commission in Mexico city. The ever expanding project of being sensitive to my daydreams.
Justin Hibbs (b.1971 Poole, UK) studied at Central Saint Martins, London (1991-94) and currently lives and works in London. He has exhibited his work in both solo and group exhibitions nationally and internationally as well as curating a series of artist led exhibitions. Solo shows include: 'Alias_Re_Covered' at the Carroll/Fletcher Gallery, London; 'PARS/SITE' (2013) & 'Secondary Modern' (2010) at the Christinger De Mayo gallery, Zurich, Switzerland; 'Altneuland', Gallery Lucy Mackintosh, Switzerland (2007), 'Metroparadisiac' (2006) and 'I'll Wait for you' (2005) at the One in the Other Gallery, London, (2015); 'Distressed Geometry', Kunstrum, Baden, Switzerland, (2015); 'Weltenwurf', Kunsthaus Grenchen, Switzerland, (2014); 'Oh My Complex', (2012) Kunstverien Stuttgatr, Germany, 'Superstructures',(2013) Arronitz Arte, Mexico City, 'Temples To The Domestic', (2012) London; 'Polemically Small', (2012) Torrence Art Museum, California, 'Dawnbreakers' (2010), Hansard Gallery, Southampton. His curatorial projects include: 'Misfits' at Galerie DS Contemporary Art, Belgium (2010), 'Working Space l & ll' (2008) at the University of the Arts Gallery, London and the Lucy Mackentosh Gallery, Switzerland respectively and 'News From Nowhere' at the Lucy Mackentosh Gallery, (2005).
www.carrollfletcher.com
twitter: @Justinjhibbs
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My work acts as a vehicle to examine the mechanics our perceptual experiences of space and its representation across two and three dimensions.....amongst other things.
What is your earliest memory of art?
Sitting at my father's technical drawing board, looking at his strange abstract drawings of circuit boards and the innards of radio ham sets, all black lines, letraset dots, rotring pens and parallel rulers....
Have you shown your work in a non-white cube space before?
Many - lamenate wood panelled cab offices, abandoned warehouses, bankrupt shops etc. Most recently at a domestic house for the Bread & Jam series of exhibitions curated by Emma Cousin in Brockley.
What does this sort of space bring to your work?
My work considers the exhibition space as an integral element of the work itself - the specific conditions of the given space create the starting point and are as important as what I bring to it. I aim to create an encounter where the relationships between the space and the works unfold providing an alternative way of experiencing space. Working with a domestic space or a shop provides a whole reft of other histories and associations to create a dialogue or collide with.
What is the future for art outside the gallery context?
Everything and nothing.... This is an important question in the context of the art ascene dominated and driven by market Validation where the reality for most is an absence of any commercial market for their work and an increasing lack of cheap or dead spaces in the city in which to create and oxygenate their practice by experimenting with exhibitions. Working outside of the commercial system is an empowering situation where you set the rules and is becoming the only potential outlet for many precisely at the point where market forces - gentrification, increasing rents, planning laws etc. are making this virtually impossible. Resist this shit, transform an unexpected space, show in your local hairdressers.....
What was your first experience of King's Cross?
The Scala.
What is the future for art?
The hairdressers and the coffee shop...
If you could meet one artist living or dead, who would that be and why?
Sun Ra - the most inspiring musician and artist of the 20th century born on Saturn and decended to planet earth.
What is your greatest weakness?
Buying records and making art.
What was the last exhibition you visited that unnerved you?
Here I am in total agreement with Lex Thomas - the Frieze Art Fair.
What place do aspects of traditional craft play in your work?
I make paintings with pinstriping tools. Pinstriping began as a way of embellishing the industrial metal panelling of vehicles such as steam locomotives and coaches. It then became synonymous with the sub-cultures of customising cars, hot rods, vintage motorcycles, truck and surfboards etc. It's basically the venacular form of the customisation culture.
Who have been your main influences over the years, both in historical and recent terms?
Sun Ra, Fela Kuti, the myriad forms of electronic music and of course my peers....
What projects do you have coming up in the future?
'Complicity' curated by Rosalind Davis at Collyer Bristow, where I will be making a site-specific mirror installation (-this show includes some of the artists exhibiting at the Geddes Gallery). A commission in Mexico city. The ever expanding project of being sensitive to my daydreams.
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| Interval Interference lll |
Justin Hibbs (b.1971 Poole, UK) studied at Central Saint Martins, London (1991-94) and currently lives and works in London. He has exhibited his work in both solo and group exhibitions nationally and internationally as well as curating a series of artist led exhibitions. Solo shows include: 'Alias_Re_Covered' at the Carroll/Fletcher Gallery, London; 'PARS/SITE' (2013) & 'Secondary Modern' (2010) at the Christinger De Mayo gallery, Zurich, Switzerland; 'Altneuland', Gallery Lucy Mackintosh, Switzerland (2007), 'Metroparadisiac' (2006) and 'I'll Wait for you' (2005) at the One in the Other Gallery, London, (2015); 'Distressed Geometry', Kunstrum, Baden, Switzerland, (2015); 'Weltenwurf', Kunsthaus Grenchen, Switzerland, (2014); 'Oh My Complex', (2012) Kunstverien Stuttgatr, Germany, 'Superstructures',(2013) Arronitz Arte, Mexico City, 'Temples To The Domestic', (2012) London; 'Polemically Small', (2012) Torrence Art Museum, California, 'Dawnbreakers' (2010), Hansard Gallery, Southampton. His curatorial projects include: 'Misfits' at Galerie DS Contemporary Art, Belgium (2010), 'Working Space l & ll' (2008) at the University of the Arts Gallery, London and the Lucy Mackentosh Gallery, Switzerland respectively and 'News From Nowhere' at the Lucy Mackentosh Gallery, (2005).
www.carrollfletcher.com
twitter: @Justinjhibbs
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