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Interview with Joshua T Gibbons

Just as the hypercube transcends three-dimensional space, so too art transcends the limitations of quotidian existence.  Photography, video, conceptualism, painting, installation and beyond - art today channels multiple discourses, mediating experience, truth and reality.

A multimedia exploration at the radical frontiers of artistic action, HYPERCUBE is: the tactile physicality of Daniel J Norie's installations; Joe J Robinson's mathematical, architectural abstractions; the harnessing of light itself in the analogue photography of Joshua T Gibbons. 

HYPERCUBE
/ˈhʌɪpəkjuːb/

noun
a geometrical figure in four or more dimensions which is analogous to a cube in three dimensions.

 

BM – How did you get in to photography?

JTG – I don’t feel that I ever really “got into” photography, it has been a constant throughout my life. I was always hugely inspired by the musicians that I grew up around and so lacking any musical talent I gravitated towards documenting my friends gigs and club nights, which eventually turned into a photographing and recording the bass and dubstep culture that emerged in London in the early naughties. Many a sticky floored venue and ketamine fuelled night taught me the importance of injecting yourself into an atmosphere to appropriately document it. So I suppose I would say that is was during that period that I began taking my photographic practice seriously in a wider cultural sense.

BM – Is photography your only creative outlet or are you interested in any other artistic processes?

JTG- Photography is absolutely not my only creative outlet. I don’t even necessarily consider myself to be a Photographer per se. I have always had an extremely keen interest in literature and film, both of which inform my work in a massive way. I am also extremely lucky to have a social group that consists of some really inspiring artists that work with a plethora of mediums, allowing me the opportunity to collaborate and in turn try my hand at those mediums.

 I am currently combining my photographic skills with my interest in journalism on a few different projects so expect big things soon…

BM – Why did you decide to shoot the works for the show on film rather than digitally?

JTG- These works were never shot with the intention of exhibition therefore I cant pretend that there was a deeper creative decision behind shooting on film. Film, has largely always been my go to, however, I wouldn’t consider myself to be an analog snob. Horses for courses. In this circumstance, “WHITE BOYS” is a collection of off the cuff 35mm imagery that has been shot with a trusty point and shoot that I keep on me when I am drinking with close friends.

 In retrospect, I feel blessed that I subconsciously gravitated towards film when shooting under these circumstances because it allowed me to work with analog printing processes when creating the series.

 

BM - Why do you work almost entirely within the documentary portraiture medium? 

JTG – Quite simply because the medium has always struck a chord with me. It allows me the opportunity to engage with a variety of people that I wouldn’t’ otherwise get the opportunity to connect with. I suppose you could say that the desire to create documentary portraiture is just a ploy to enter people’s lives through creative circumstances. For me, the reward is not so much creating work for others to see, it is far more selfish, it provides me a new experience or opportunity. The medium ensures that my personal world is ever expanding.

 

The above images are part of his new series Brighton.