Jody Dube (°1961, Lewiston, United States) makes sculptures, paintings and mixed media artworks. By creating situations and breaking the passivity of the spectator, Dube investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination.
His sculptures are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. By exploring the concept of landscape in a nostalgic way, he considers making art a craft which is executed using clear formal rules and which should always refer to social reality.
His works are a drawn reflection upon the art of sculpture itself: thoroughly self-referential, yet no less aesthetically pleasing, and therefore deeply inscribed in the history of modernism – made present most palpably in the artist’s exploration of some of the most hallowed of modernist paradigms. Through a radically singular approach that is nevertheless inscribed in the contemporary debate, he wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important.
His works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By focusing on techniques and materials, he uses references and ideas that are so integrated into the process of the composition of the work that they may escape those who do not take the time to explore how and why these images haunt you, like a good film, long after you’ve seen them.
His works establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence. By choosing mainly formal solutions, he absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation.
His collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By contesting the division between the realm of memory and the realm of experience, he tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
His works are notable for their perfect finish and tactile nature. This is of great importance and bears witness to great craftsmanship.
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