Rosie Gibbens makes artwork that magnifies elements of contemporary life which seem absurd to her. She tries to look at the world as though she was an alien visitor, attempting to conform to the behavior expected from citizens, but not quite managing. Rosie unravels things which chime strangely for this unearthly anthropologist and draws illogical conclusions. These observations are often focused on gender performativity, sexual politics, consumerist culture and their overlaps. This repeatedly manifests through the misuse of objects and garments in her performances and videos.
These videos are part of a series of 15 second videos made at home over lock down using everyday items. Many of Rosie's performances and interactions have sexual connotations and she often exhausts the euphemistic qualities of her object-collaborators. Interested by the way that (young, cis) female bodies are often the landscape on which desire for commodities are constructed, Rosie approaches her work as perverse product demonstrations or adverts; taking the term ‘sex sells’ too literally.
She also makes soft sculptures which double-up as performance props. Many of these are enlarged fabric versions of body parts; particularly lips, tongues and orifices/body holes. She choses these for their sexualised nature and hopes that her overblown versions skew the possibilities for objectification.
During the performance Carrot and Stick, Rosie interacts with soft sculptures made using photographs of her body parts. A cross trainer with legs taps her on the behind and a hand on wheels rubs her chest.
Rosie's performances and videos are sometimes combined with appropriated text, through voice-overs or written words. SeDUCKtion documents a failed attempt to attract some ducks in a pond using a speculum as a beak, washing up gloves as webbed feet and a repetitive dance. In the voiceover, a child reads online discussions comparing the sexiness of Daisy Duck and Mickey Mouse.
Rosie's newest work The New Me launched recently at Expo Chicago and online on Daata Art. The project centres around an absurd vision of a fictional company that manufactures and markets pointless products to bored consumers. The New Me consists of three video works, each a surreal advertisement for an Ilium product. Rosie’s collaboration with Daata also marks the launch of her first NFTs.
Rosie Gibbens is a British artist. She received an MA from the Royal College of Art in Contemporary Art Practice: Performance and a BA in Performance Design and Practice at Central Saint Martins. Selected recent group exhibitions include: The Artist is Online, König Gallery, Berlin (2021); Hot Air, Bad Art presents, London (2021); Recreational Grounds, Thames-Side Studios Gallery, London (2021); Ridiculous, Elephant West, London (2020); Antisocial Isolation, Saatchi Gallery, London (2020); Salon Acme, Mexico City (2020).
SCHAU Copyright © 2022
Rosie Gibbens makes artwork that magnifies elements of contemporary life which seem absurd to her. She tries to look at the world as though she was an alien visitor, attempting to conform to the behavior expected from citizens, but not quite managing. Rosie unravels things which chime strangely for this unearthly anthropologist and draws illogical conclusions. These observations are often focused on gender performativity, sexual politics, consumerist culture and their overlaps. This repeatedly manifests through the misuse of objects and garments in her performances and videos.
These videos are part of a series of 15 second videos made at home over lock down using everyday items. Many of Rosie's performances and interactions have sexual connotations and she often exhausts the euphemistic qualities of her object-collaborators. Interested by the way that (young, cis) female bodies are often the landscape on which desire for commodities are constructed, Rosie approaches her work as perverse product demonstrations or adverts; taking the term ‘sex sells’ too literally.
She also makes soft sculptures which double-up as performance props. Many of these are enlarged fabric versions of body parts; particularly lips, tongues and orifices/body holes. She choses these for their sexualised nature and hopes that her overblown versions skew the possibilities for objectification.
During the performance Carrot and Stick, Rosie interacts with soft sculptures made using photographs of her body parts. A cross trainer with legs taps her on the behind and a hand on wheels rubs her chest.
Rosie's performances and videos are sometimes combined with appropriated text, through voice-overs or written words. SeDUCKtion documents a failed attempt to attract some ducks in a pond using a speculum as a beak, washing up gloves as webbed feet and a repetitive dance. In the voiceover, a child reads online discussions comparing the sexiness of Daisy Duck and Mickey Mouse.
Rosie's newest work The New Me launched recently at Expo Chicago and online on Daata Art. The project centres around an absurd vision of a fictional company that manufactures and markets pointless products to bored consumers. The New Me consists of three video works, each a surreal advertisement for an Ilium product. Rosie’s collaboration with Daata also marks the launch of her first NFTs.
Rosie Gibbens is a British artist. She received an MA from the Royal College of Art in Contemporary Art Practice: Performance and a BA in Performance Design and Practice at Central Saint Martins. Selected recent group exhibitions include: The Artist is Online, König Gallery, Berlin (2021); Hot Air, Bad Art presents, London (2021); Recreational Grounds, Thames-Side Studios Gallery, London (2021); Ridiculous, Elephant West, London (2020); Antisocial Isolation, Saatchi Gallery, London (2020); Salon Acme, Mexico City (2020).
SCHAU Copyright © 2022