<  1990 - 1986 / Work by Image  <  Work by Title  <  What You Don't Know Won't Hurt You - [Installations]

next  >>

Installation consisted of both real and cast stainless steel bones scattered across the floor, On opposing gallery walls were two raw canvases. Silk screened onto the canvas is the image of a pack of wolves, one a positive image the other a negative of the same image. In the far back middle of the space is a stove structure containing a ‘northern’ light and emitting a sound tack recording of the howling wind.

“This installation intends to operate as a graveyard for the living, where issues of comfort, contribution, security and basic survival can be considered. Herein I have created a barren wasteland, an environment intended to operate on three levels... the past tense, the present tense and the future tense.

The radio stove structure is intended to work in the space as a focusing, centering device. The stove, which normally emits heat, is producing the sound of the north wind, a continual reminder of a prevailing reality, while at the same time still giving hope with an internal light within the structure symbolizing the north star. Here the smoke stack is an aerial.

The wolf images on opposing walls are intended to act as devices to strike at and engage the viewers psyche. The gaze of this historical beast penetrates its assailant through positive and negative conditions intended to leave the viewer on an edge where there is nothing to fear but fear itself.

The bones lie on the floor as icons of distant deaths, as residue from a culture which is at odds with itself. Here issues of value, of preciousness, of mortality and immortality can be speculated as the stainless steel copy of the real bones lie next to the 'real' bones.

This work is one attempt to link our organic instinctive ‘feeling’ powers to our thoughts, and to extend our vision further to encompass the lost invisible energies from nature which we have lost contact with.”  RH

"This is an exhibit with contrast, primal in it's imagery, yet thoroughly modern in its use of technology to create sound and objects. These contrasts represent the keys to feeling and understanding this show. Huebner seems to be telling us that the gap between feelings and intellect, between instinct and reason, and between real and manufactured, can be bridged."  Museum Takes in Big Bad Wolf, Chilliwack Progress 06.06.1990