"Blue Twine #1"
found object construction
© 2011 Gary A. Bibb
(wood, aluminum can fragment, enamel paint, leather,
latex glove and twine)
“Black Sand Nine”
found object temporary construction – installation
© 2012 Gary A. Bibb
(commercial ceramic bowl, ceramic pedestal, black sand,
wood and industrial plastic strapping)
An 18 piece survey of Gary A. Bibb artworks exploring the theme of re-purposed discarded objects: 2011-2014.
Point Gallery
765 Santa Fe Dr.
Denver, CO 80204
Exhibition Calendar: June 26 - July 30, 2014
A review of this exhibition was published in the New York City based international arts magazine Curator. Click here for the article - www.curatormagazine.com
exhibit installation photos: Gary A. Bibb
exhibit reception photo: Jennifer Davey
The Redemption of Rubbish
(excerpts from the essay)
by Gary A. Bibb
Utilizing found-object materials in the
construction of Fine Art has long been regarded as visually and
metaphorically viable. For nearly a century, artists have collected
non-art objects with the intent of incorporating them within their
compositions. The results have repeatedly proven that the creative
process of selection, signification and organization can elevate even
the most humble scraps of human detritus into beautiful, majestic
forms....
While foraging back-alleys and
industrial sites for unusual pieces of paper, I discovered an affinity
for the found-objects most commonly regarded as trash.... There was
something significant, authentic and genuine about the discarded
rubbish. Although rejected and deemed valueless, it appeared the
found-objects were attempting to resist the ravages of time and maintain
a sense of dignity. A metaphor was forming. These scraps of paper,
cardboard, wood and metal were beginning to symbolize the concept of
intrinsic value and the noble character of perseverance. I came to
realize that through artistic intervention, discarded items could be
transformed into expressions of renewed purpose, hope and beauty.
The utilization of found-objects to express an aesthetic ideology remains integral to my artistic intent. Incorporating
collected items, along with various media and techniques, expands my
visual vocabulary and adds an objective dimension to my art. Therefore,
the ideas expressed are not merely limited to the realm of ethereal
thought [concepts] but also enter into the viewer’s tangible reality.
Originally published in the book: Under the Influence, 2009.
- - -
Exhibit Observation - June 2014
While completing the installation of my final sand
artwork for this exhibition, a young woman entered the gallery and carefully
drew near one of my found object pieces on the wall. It’s always interesting to
observe the audience as they view artwork – especially when it’s your own art.
She seemed captivated and was actually engaging the art, contemplating each
piece while almost dance-like moving through the gallery. It was a rare and
rewarding experience for me to see someone actually view the art beyond a
casual glance. After spending several minutes with each of the 18 pieces in the
exhibit, she looked up and saw me cleaning up packing material. I asked her if
this was her first visit to the gallery, to which she replied, “No, I’ve been
in a few times before.” Then she asked, “Are these your artworks?” What
followed was a brief conversation about found objects and repurposed materials
used in creating art. Her comment which resonated most deeply was when she said
(I’m paraphrasing here), “There are a lot of artists making found object art. I
appreciate what they do and try to seek out their exhibits when I can, but
there is something really different about your work. They are quiet and
powerful. You appear to ‘honor’ the objects and there is a sense of reverence
in each completed piece.” I excitedly confirmed her interpretation and briefly
shared my concept of the Redemption of Rubbish. Amazingly, this person (who
wasn’t an artist) actually took the time to contemplate the art and the result
was a visual dialogue between myself (the artist) and her (the observer). She
hadn’t read my conceptual statement prior to viewing the art and yet perceived
the intent. This was an extremely rare occurrence and one of great personal
reward for me. There is an audience (albeit small) who actually desires to
understand what artists are communicating through their art. My artwork in this
exhibit had achieved its purpose through this young woman’s response and
reminded me of something I once wrote: It is within this interpersonal
relationship of artist and audience where we find the potential for
consummation and satiation of our human desire for soul to soul communication.
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