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Collage of five diverse artworks from the Hammer Museum Collections side by side. From left to right: 1) Contemporary painting of two embracing figures with surreal elements. 2) Post-impressionist style painting of trees with vibrant blues and greens. 3) Black and white illustration of a face with intricate patterns. 4) Japanese woodblock print style image of a figure in a checkered robe. 5) Photograph of a couple dancing, the woman in a black dress and the man in white

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Jibade-Khalil Huffman

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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.