SARA HUBBS

BIO
Sara Hubbs is a visual artist and writer. Her work has been shown nationally and internationally including, the Ex-Teresa Arte Cultural in Mexico City, Abu Dhabi, Washington, DC and in New York City. Sara completed residencies at the Vermont Studio Center and at The Cooper Union. She has an MFA in Visual Art from The George Washington University where she was awarded the Morris Louis Fellowship and has a BFA in Painting from Arizona State University. Born and raised in Phoenix, AZ she currently lives in Tucson.

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STATEMENT
 
I use mass-produced items like toy and product packaging, discarded textiles found within the home, and building materials to create abstract works that explore how meaning is contained. I use abstraction to create and reveal the distance between the complexity of material culture, its systems and our experience within them.

I gather supplies from our recycling bin, save toy packaging from birthday parties, and acquire old clothing from family and friends. By formally abstracting these materials, I bring the mass-produced items into an intimate realm of sight, not just physical proximity. We are no longer looking at them as trash, but we see hints of their former selves, a UPC code or the undeniable script of a toy logo. Shedding their usefulness, their cultural and advertising messages, they speak intuitively and playfully. They elicit emotion and ask for the viewer’s interpretation.

I work between obscuring and revealing the formal aspects of the materials. I play between this distance and visibility. The discarded forms I use in my work are the shed skin of material culture. They are vacated shapes that represent absence. I use discarded clothing and personal items to connect the body of objects in the world to our own bodies.

My practice is rooted in the physical act of making. I want the hand to show in the work as both an antidote to machine made items and sophisticated technologies, but also as a way to highlight dissonance. The things I make are often clunky and messy compared with the precision of a machine. They populate a surreal landscape littered with ambiguous, yet familiar forms, which I call the abstract familiar.

The completed pieces ask to be reinterpreted through both conscious and subconscious ways. They ask how much information and stimulus can we contain? How do we experience the intangible aspects of the material world? How can we feel and engage with the interconnected and singular experiences of objects in our midst?