Jibade-Khalil Huffman
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Jibade Khalil-Huffman, Yesterday (Our Love Went into a Coma), 2013DVD, monitor, microphone, and love poem. Dimensions variable. Courtesy of the artist. -
Jibade Khalil-Huffman, Lake Overturn (detail), 2013Three-channel video, sculptural ephemera. Dimensions variable. Courtesy of the artist. Photo by Alan Shaffer. -
Jibade Khalil-Huffman, Lake Overturn (detail), 2013Three-channel video, sculptural ephemera. Dimensions variable. Courtesy of the artist. Photo by Alan Shaffer. -
Jibade Khalil-Huffman, The Forms of Love (detail), 2013Five-channel slide projections. Dimensions variable. Courtesy of the artist. Photo by Alan Shaffer. -
Jibade Khalil-Huffman, The Forms of Love (detail), 2013Five-channel slide projections. Dimensions variable. Courtesy of the artist. Photo by Alan Shaffer. -
Jibade Khalil-Huffman, Gif, 2013Single-channel video, sound. Courtesy of the artist. -
Installation view of Gif and NiagaraInstallation at Gayle & Ed Roski MFA Gallery, University of Southern California, Los Angeles, showing Gif and Niagara. -
Jibade Khalil-Huffman, Niagara, 2013Three-channel slide projection. Dimensions variable. Courtesy of the artist.
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About the Artist
Born 1981 in Detroit
Jibade-Khalil Huffman uses performance, photography, and video that pushes the capabilities of text and image to tell stories and convey meaning. Drawing on his background in poetry, Huffman plays with timing and pacing in his visual work to tease out suspense, tension, expectation, and release.
In The Forms of Love (2013), five slide projectors face the same corner of a room, their images overlapping. Each projector is set to a different speed and the carousels have no specific starting point, resulting in random combinations of images and signs at an uneven rhythm. As it comes full circle, The Forms of Love disrupts the audience’s expectations of a clear resolution or ending. Another disruption occurs in Lake Overturn (2013), featuring a three-channel projection in which a location scout drives through Southern California looking for a place to film a disaster movie. As she moves through Los Angeles, scenes from other films run through her mind, projected onto adjacent walls. The audience must continually turn their heads to take in—at the most—two projections in the same glance.