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Jeffrey Gibson - Mississippi Band Choctaw / Cherokee
Interview by Ross Goodman
March 2010

When I first viewed Jeffrey Gibson’s work, I was instantly drawn to his brightly layered and dimensional paintings. Gibson’s innovative approach to abstract art has allowed the New York artist to find his place in the contemporary art world.

Monotype - 2008
Ross Goodman: Your resume is very extensive. I noticed that you have spent time living, studying, and working in many locations around the world. In what way did those places (Colorado, London, Chicago, New Mexico, Brooklyn) and the people you encountered in them influence your work?
Jeffrey Gibson: Moving around for the majority of my life influenced my work in many different ways. I did not realize that I was nomadic in so many senses. I don’t have “roots” anywhere in a physical sense and have always considered where I currently live “home”. The experience has made definitions of home, place, identity, time, and culture very complex and multi layered for me. I have also been influenced by the varying aesthetics of each place. Some have had specific cultural aesthetics, language barriers, cultural barriers, etcetera. These differences funnel through me, a queer Native male born toward the end of the 20th century and entering the 21st century. I consider this hybrid in the construction of my work and attempt to show that complexity.

Monotype - 2008
RG: I really enjoy the Monotypes from 2008 on your website can you tell me about the ideas that inspired these works? It seems that mouths and eyes are a theme in most of them. What is it about these facial features that captured your interest?
JG: Each monotype features the same eyes and mouth. They are anonymous in the sense that the “face” was made from three different images of people pulled from the internet. This person does not exist. I consider myself an abstract process based artist and am always intrigued by the relationship between image and abstraction. When an image is placed in front of an abstraction, the abstraction often reads as background or environment. In these prints I wanted to have the backgrounds inform the reading of each face, the same face altered by it’s environment. The identity of this face shifts from print to print. The responsibility of the reading falls somewhere between what I have put out there and the viewer to determine any identifying factors.