Border Controls, A Collaboration with Rosalind Davis
Exhibited at SevenOaks Kaleidoscope Gallery Nov 2018 and at no format Gallery Sept 2018
Slideshow above of Installation images from ‘Border Controls’ - Steel & Dibond Mirrors on Dibond Platform.
Border Controls is an exhibition considered within the shadow of increasingly restricted borders and political controls with regard to migration and the increasing isolationism seen both here in the UK (with Brexit) as well as the wider geographical tensions seen currently in Europe and America. The collaboration between Davis and Hibbs see’s the artists’ consciously inhabiting the thresholds and boundaries between their respective practices in an attempt to open up conversation and discourse around these issues. The personal and political dimensions of art-making and authorship are seen here as a lens through which to consider wider social concerns and questions that address the dynamics of power, autonomy and control.
For their exhibition at Kaleidoscope Gallery, Davis and Hibbs will show the piece ‘Border Controls’ - a large scale sculptural installation that brings together different aspects of both artists practice into direct dialogue with one another, creating a single collaborative work. Alongside this the artists will also exhibit a number of individual artworks that extend this conversation. Within the parameters of the gallery neither artists work can be negotiated without experiencing reflections of the other within them. Physical borders cross, overlap, fluctuate and collapse within an installation which transforms, dematerialises and disorients our understanding of space.
Davis and Hibbs have collaborated informally for years; over shared thematic concerns, overlapping research interests and an ongoing ‘conversation’ around one another’s practices and curatorial projects. Both have independent careers but also are a couple who share a studio, where inevitable questions arise about how and where to set boundaries.
‘Artistic production is nodal, networked, and a perpetually unfinished project, things nudging each other, domino effects transpiring. The real-world analogue of this is that in an artist’s studio, it’s always a transitional moment: the detached artwork as standalone statement is a falsity, a piece of theatre. In reality, one thing leads to another, all kinds of ambient forces shaping what’s made’ (Martin Herbert).
The artists individual practices share common references to the social, political and aesthetic agendas encoded within architectural structures and in different ways renegotiate the visual and ideological legacies of modernism to probe both real and idealised notions of space. They create structures where interpretation and the reading of context is contingent on the audiences’ individual and relational responses.
“Davis’ sculptural interventions have an ability to change composition in a circular narrative portraying how we move through space while adapting to the structures and how we adapt structure to the way we move through space.”1 There is an ongoing negotiation between our perspective of being external to the structure and our bodily experience of interacting with it.
Hibbs’ site-specific installations, sculptures and wall drawings re-map the relationships between architecture, spatial perception and it’s representation across different formats. With a sense of constantly shifting perspectives the work plays off the spatial illusionism of the image with the structural language of three-dimensional construction processes.
Border Controls at no format Gallery, Deptford, London September 2018
Slideshow below, ‘Border Controls’ - Steel, Dibond Mirror’s and etched Dibond Curve Mirrors