HIBI: In Search of Lost Time • 2016-2018

“HIBI” ひび is an evocation of involuntary memory through form, photography, and text (as a conceptual reference) of the day to day. In Japanese, the word, “hibi” can take on different meanings according to the character used:

日々(ひび)– everyday; day to day

罅 (ひび)– crack; fissure; split

響く(ひびく) – echo; reverberation

A reading of Proust’s Remembrance of Things Past shows the way sleep seems to alter one’s surroundings, and the way habit makes one indifferent to these surroundings. The specific taste of a madeleine cake dipped in tea inspires a nostalgic incident of involuntary memory. These cues encountered in everyday life evokes recollections of the past without conscious effort. My experiments with plaster, specifically, casting (from the bottom of a bucket), methodological sanding, and sometimes further refining the surface through painting is an evocation of this involuntary memory. The linguistic descriptive capacity of “hibi” as “day to day”, “crack”, and “echo” or “reverberation” encapsulates the rhythm of habit and the nostalgic incident creating these forms.

HIBI 罅 : Crack; fissure; split • 2018

As the Madeleine was dipped into the tea, the plaster was set at the bottom of a bucket—an allusion to habit through which I derived the residual circular form. Whereas the moment of shattering is inextricably in the present, the process of sanding; mishappedly reassembling; and then carefully painting evokes the non-presence of involuntary memory. One enters a habitual sleep-state, a nostalgic incident that shifts between voluntary and involuntary recollection.


HIBI 日々 : everyday; day to day • 2017

While photography has often served as a method of collecting texture and color, which is evident here as well, it also has facilitated the examination of cracks, fissures, literally in the everyday. Here, through this encounter, a question arises: How do cracks function in the everyday? The intentionality–precisely whether it is voluntary or involuntary–determines its nature and therefore, its connotation. A negative or positive fissure then becomes a demarcation of space (perhaps a method of ownership) or a sign of deterioration (from the lack of ownership).


HIBI 響 : Echo; reverberation / Solable Organs • “A Gathering of Inner S(h)elves, Agora Rollberg, 2016.

“Reading Bodies” by The Institute of Endotic Research (TIER) was a month-long workshop in the frame of AFFECT 2016 facilitated by Lorenzo Sandoval inviting participants to work on ways to approach libraries, archives, and it’s potential performativities, in relation to the body. HIBI: Soluble Organs was created in this framework as a performative gesture of the remnants of the Rollberg building. The plaster forms above were derived from sanding and re-molding structural blocks that were being removed from the building at the time. With the archival nature of “Reading Bodies” in mind, the Soluble Organs are displayed as a shifting library of interior form.