In a collaboration at Arthouse1 earlier in May 2019 their collaborative installation incorporated plants that echoed the structural elements of their works within an organic form. For their exhibition at The Foundry Gallery Davis and Hibbs will create a new site-specific installation that will be transformed across the duration of the show to play with new possibilities in the space and alternative works to emerge. Steel, mirrors, Perspex, paintings, vinyl and plants will be used within it. There is an ongoing negotiation between our perspective of being external to the structure and our bodily experience of interacting with it.

Davis and Hibbs individual practices share common references to the social, political and aesthetic agendas encoded within architectural structures and in different ways renegotiate the visual and ideological legacies of modernism to probe both real and idealised notions of space. They create structures where the potential for interpretation or reading of context is contingent on the audiences’ individual and relational responses.

‘Artistic production is nodal, networked, and a perpetually unfinished project, things nudging each other, domino effects transpiring. The real-world analogue of this is that in an artist’s studio, it’s always a transitional moment: the detached artwork as standalone statement is a falsity, a piece of theatre. In reality, one thing leads to another, all kinds of ambient forces shaping what’s made’ (Martin Herbertfrom the text ‘Between Before and After’ to accompany Justin Hibbs Exhibition ‘Alias Re-Covered’ Carroll/Fletcher 2015).

Rosalind Davis is an artist whose central investigation is the transformation and reconfiguration of space through multiple disciplines. Beginning with the highly rationalised and objective language of architecture, Davis dis-assembles its geometries to re-create new and multifaceted spaces. The resulting environments and her paintings probe the relationships between both the physical and psychological aspects of space.   “Davis’ sculptural interventions have an ability to change composition in a circular narrative portraying how we move through space while adapting to the structures and how we adapt structure to the way we move through space. A transformative piece which looks to fold, shift, disassemble, lean and reconfigure itself with endless possibilities. Rosalind relates this to her earlier paintings of brutalist and modernist buildings as if she's 'taken the structure and pulled it out and turned it into a sculpture.”[1] 

Justin Hibbs’ site-specific installations and wall drawings play with a sense of constantly shifting perspectives that tease out relationships between the flatness of two-dimensional drawing processes and their potential for virtual projection and spatial illusionism. These installations have functioned as containers for multiple individual works and synthesise the relationships between them. The works are created through a cycle of mutations where they are reformatted, sampled and re-versioned from others, oscillating between the digital and the analogue, reinventing the legacies of modernism through contemporary tropes of mutation and reproduction. [1] Jillian Knipe. Wall Street International