Brian is featured in The Artery Magazine. Check out his interview here.
We’re pretty flattered that Brian Hubble wanted to be involved with The Artery! He is one hell of a recognized artists who has worked with the likes of Yoko Ono and Guided By Voices, been published in the NY Times, Harpers, Nylon and on the cover of Descend Magazine and creates some of the most satirical, textural works we’ve featured so far. He’s awesome and he has a soft spot for other artists – compliment, not competition.
Tell me why your mixed media work is so natural.
The mixed media work may look natural because, well, it simply is. Over the years, I’ve simplified my technique to a kind of “poor man’s way” of photo-transferring onto canvas. It took a long time to get back to the basics–pushing out all unnecessary motion.
Did you start out as a photographer?
I don’t know the first thing about photography. I have photography friends who amaze me by cleverly setting up lighting, models, etc. In my illustrative work, I do my best to set up the strongest shot I can, but I don’t have the skill or inclination to go to such lengths.
Why did you choose this life for yourself?
I choose to make art because I have something to say, and this is one way for me to say it. But I think in most cases, art chooses you, not the other way around. How deep.
It seems like many of the illustrations are city centric, what’s the message, if any?
Most of the commissioned illustration work I get revolves around serious subject-matter: local jobs moving overseas, urban non-profit hospitals being shut out, the collapse of the housing market… so, it makes sense to use these kinds of images. Plus, I’m just more drawn to photographing architecture than people.
Under what conditions do you do your best work?
I primarily like to work in the evenings. I watch oprah everyday, who I find very inspiring. She’s stranger than fiction.
How do your glass paintings hold up over time?
The glass paintings are 100% archival. Each of them contain two pieces of glass. Three of the fours sides are painted or drawn on. The “fourth” side, which faces the viewer, is left alone. They are all contained within themselves and literally untouchable.
Is the purpose of painting on glass for transparency or is it just a great surface?
It’s a great surface. when I was painting on glass, I realized that it was the only surface that was totally non-restrictive. Any other medium – paper, canvas, panel – allowed for only one side to be worked on. But with glass, it was as though I was working with a big piece of “nothing”, letting me be completely free to make the marks I found necessary. Transparency has nothing to do with it. Some viewers might not even know the work was produced only on glass.
Is the story of DB Woods true? And how did you run across him?
Several years ago, my truck broke down in the middle of nowhere in North Carolina. While killing time, I met the widow of D.B. Wood at the gas station where she works.
How did his widow receive you when you first approached her?
At first, not well. But after time, she warmed up to me.
Was/is he your inspiration?
Oh yes. I feel like D.B. and I are one in the same.
You help spotlight other artists, help them tell their stories, why?
I like to help those whose work (story) deserves to be seen. And because of their circumstance, they do not have the means or resources to get the work out themselves.
What is being a curator like?
I like to think the left side of my brain works as well as the right, which is crucial when trying to curate a show, at least in my experience. It can be a little challenging when dealing with forty plus artists like the last show, but it always works out in the end. Taking the d.i.y. route, showing in alternative spaces and bringing people together make it more than worth it.
How exactly do you coordinate a traveling show? Care for so many important pieces of art? Hang the shows yourself?
It starts with cold calls and a lot of talking. Finding artists is the easier part, we are not in short supply. Once people get on board and a dialogue is started, it just kind of snowballs. As far as caring for the work, I make sure each artist does her/his part -this is a non-profit situation! This means wrapping it well. At this point, I’ve always either hung the show myself, or oversee it.
Do you think it’s important to have a presence on the web? How has it helped you?
As far as illustration goes, having a web presence is a must. Along with my personal site and whatever links may connect to my work, my agent, levy creative, does a great job. There are other sites I’m a part of that deal mainly with illustration that have gotten me work directly. The fine art world works a little differently, but I can’t imagine a situation where having your work on the web would be a negative thing.
Posted on 09/29/2009 for BRIAN HUBBLE