Working primarily in painting, Henry Gibbs’ (b.2000) work utilises techniques such as masking, gesture, and Ben-Day dots to (de)code the implications of digitalization, movement,
identity, and futurist systems.
His exploration of gesture as a construct delves into mark-making as a bodily process that embodies material, digital, and expressive forms. Gibbs’ paintings explore the evolution of gesture over time, examining the ways in which modes of purposeful exhortation define our interactions within digital spaces and relations. His visual language, made up of dots, responds to contemporary modes of repetitive gesticulation and the history of post-war production, printmaking, and pop culture within and beyond the art world.
The repetition of action and gesture concentrates moments of fatigue, as overwhelmingly saturated digital images blur the boundaries between what we consider real and unreal in our post-pop, or what the artist prefers to term as 'bleak pop' era. Through painting, his work embodies the space between beginning and end, perpetually trapped as an incomplete bodily gesture.
Gibbs lives and works in London. He completed a BA in Fine Art at Central Saint
Martins (2023). Having completed the Goodeye Projects Residency, London in 2022,
Gibbs’ works were featured in their exhibits at Christies (2023) and Collective Ending
(2023). His work has been featured in group exhibitions by galleries including: Pictorum
Gallery, London (2023); AMP Gallery, London (2022); Ridley Road Project Space,
London (2022); The Who Gallery, London (2021) and Peggy Jay Gallery, London (2021).