Jo Hummel's work is characterised by a painted and paper collaged surface on which she employs spontaneous variations of space, colour and form.
Although her painting collages are physically engaged and materially driven the context is purposefully anthropological and Hummel’s works are informed by human habits and behaviour, with a particular interest in determinism and freewill just as much as formal concerns.
Barnard is delighted to present Jo Hummel's solo exhibition 'Looking Out' opening on 17 January 2023.
Jo Hummel: Q&A with Barnard Art Director and curator Alastair Whitton, December 2022
AW: On encountering your work for the first time I could not help but think of Henri Matisse’s large ‘cut out’ and masterful collage, titled ‘The Snail’ (1953) that hangs at TATE Britain in London. What affinity, if any, do you have with the work of this late great artist, whose latter works arguably paved the way for abstraction?
JH: Along with Artists such as Georges Braque and Pablo Picasso, Matisse was undoubtedly part of group of trail blazers presenting collage as painting in the early 20th century, and for that I am grateful to him but I think largely, the similarities stop there. My work is concerned with the action of collage painting and I have found little to suggest that Matisse shared the same modus. Although he did talk in detail about the strength of colour relationship and proportions of form over figuration so perhaps we did share an affinity here. I did find a quote by Matisse where he says "It has bothered me all my life that I do not paint like everybody else” And I can relate, except In contrast I am not bothered by it at all.
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AW: Seemingly resolute in their preoccupation with form and colour, you have indicated that while your constructed paintings, made from shapes of cut out painted paper, are physically engaged and materially driven, their context is purposefully anthropological. Perhaps you could explain this seeming dichotomy?
JH: When describing the work in this way what I am referring to is the experience of making the work itself and how that informs the practice. In the past I have referred to this as a phenomenological study, meaning I am studying my own consciousness. For me painting functions as a psychologically exploratory activity, wherein conscious intention and decision regarding the formal aspects of the work might be or beget behaviours and artefacts upon which an intimate reading of unconscious influence may be made. Every day is an expedition of intimate and intense self-research.
AW: Although for a number of years now, aspects of figuration and notions of race, identity and sexuality have arguably been the dominant discourse in contemporary art, there seems, particularly in Europe, to be signs of a resurgence in abstraction. Firstly, would you agree with this observation and if so tell us how and where you see your work contributing to this conversation?
JH: Yes I agree there seems to be a resurgence in Contemporary Abstraction in Europe although I will admit that my radar is abstract centric. I’ve noticed a wave of hard edge, geometric and reductive painting.
Throughout history and particularly in indigenous culture there are stories and identities embedded in shapes, colours and patterns. My work was borne out of foraging for found material, discarded paper bags, vintage wall paper, book jackets and like. Everyday items from everyday lives. Interlaced within my practice are socio-political concerns surrounding the biosocial parameters influenced by the British class system. I tend not to harp on about it but if you look closely you will see that my process, my materials and my politics are firmly rooted in anti-classism.
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Artworks
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