edit portrait 1.jpg
 

Charles Kibby

After graduating from the University of Oregon in 1975 with a M.S. degree in Fine Arts (Sculpture), Kibby pursued a career as a visual artist, exhibiting in several one-person and group shows during this initial period of his career. He also participated in two stone sculpture symposia in Italy.

Marriage and children diverted his attention for the next 30 years or so, during which time he founded a specialty consulting and contracting firm with a focus on the Preservation of Historic Buildings and Structures. This body of work is documented on the website www.cgipreservation.com.

While he continued to work in the studio periodically, he limited his sculptural work to short projects using material from buildings his company restored in California and adjacent Western Locations (Arizona, Nevada). He has recently been allowed the luxury of returning to his studio full-time, and his current body of work reflects this recent period of exploration and inquiry. It is hoped you enjoy the work as presented here.


Artist Statement

I have always been fascinated with the concept of structure, how things are put together and how they appear to us as objects and also as symbols. In recent years the idea of objects as symbols, as something ‘other’ has become a more defined focus of my work.

I work mostly in stone because it fascinates me as a symbol of Mother Earth, as well as a reference to that idea of structure: the crystalline nature of stone elicits an apt metaphor when considering the notion of component parts and how they are assembled.

Lately I've been fascinated by the images from deep-sea research taking place in the Marianas Trench – incredible forms inherent in the life that dwells at those depths! It’s not just the organic qualities that attract, but also the idea that the structure of nature is so universal in its general application. The Fibonacci spiral, the Golden Mean, and many other examples of structure relating to form in our world, are the types of naturally occurring relationships that keep me engaged and inspired.

When I began adding light to my stone assemblies, the added dimension of illumination created for me an internal conversation about how a fundamental and basic material could be transformed into a vibrant and expressive medium, above and beyond the traditional use and perception of stone as a material. My process of working with stone using an additive rather than a subtractive process has allowed the material to express an additional perspective regarding its typically perceived qualities of mass and stability.