Brian Jobe

ON THE HUSTINGS (PHASES) - Concrete industrial sculpture diptych

2021

In this piece, two breeze blocks stacked on top of one another make the base of the sculpture. On top of these breeze blocks is a flat, rectangular steel...

"Mirror" is a site specific installation that was exhibited in the show "Dialects of Place(s) by Land Report Collective at COOP Gallery in Nashville, TN. In this piece, Jobe uses industrial materials such as insulation foam, concrete, window screen, and graphite tracing paper to create a patterned structure that protrudes from the corner and carries the viewer's eye upward. At the bottom of the piece, we see delicately balanced concrete on top of pale blue insulation foam. The patterned concrete and insulation foam carries the viewer's eye upwards towards another pop of blue on top of the aluminum window screen frame. The screen gives the viewer a window in which to look through the piece. On one side, this mesh frames the graphite paper and on the other side the viewer can see the patterned concrete and insulation foam. Review from "The Rib" about "Mirror" One of the more surprising works here is Nashville-based Brian Jobe...

In this piece, seven octagonal terra-cotta bricks of cylindrical shape are on the floor in a V shape. Two concrete bricks are placed amongst these cylinders. All of these objects are bound together by a string that is tied around the objects. Brian Russell...

This piece consists of pieces of spalled brick, which had crumbled from the artist's chimney. The artist has used natural string to tie these brick pieces in a neat package. The brick package is delicately placed on a pile of bright orange chalk powder. Brian Russell...

This painting by Linda King Ferguson is part of her equivalence series, which began as a feminist project; works that subvert the historically male gaze and a material language speaking of gendered concerns. While typically, King Ferguson paints both sides of the canvas and cuts a flap on the the frontside to reveal the color of the back of the canvas, she unexpectedly does the opposite here. The painting is hung from the "frontside" of the canvas, revealing to us the raw edges of her linen canvas, stapled to the stretchers. Two oblong shapes of pink and red dominate the center of the painting. A thin semioval cut has been made inside of both of these shapes. Her color choices first came from Helen Molesworth’s essay, Painting With Ambivalence, published in WACK! Art of the Feminist Revolution. The Essay includes a large reproduction of Mary Heilmann’s 1979 painting...

In this sculptural piece, Linda King Ferguson has cut a piece of linen canvas into a half-diamond shape, with an ellipsis cut-out close to the scalloped right edge. A red cotton thread completes the second half of the diamond shape, then hangs from the bottom corner, evoking the image of a kite. King Ferguson's paintings are abstractions of the female body. She chooses to use linen...

Steel on the concrete base 1/1 Units

Steel on the concrete base 1/1 Units

Steel on the concrete base 1/1 Units

Steel on the concrete base 1/1 Units

Steel on the concrete base 1/1 Units

Steel on the concrete base 1/1 Units