I like to imagine that Fritz Lang, with his penchant for blown-up science textbook illustrations, and Leonardo da Vinci, with his designs for contraptions both whimsical and practical, would be totally stoked on the work of multimedia collagist . A quick survey of his artistic output reveals microscopic vistas of the still-beating hearts of impossible automata and altars for the worship of logic and ideas… or at least that’s what I see. Whibley’s work is like a blueprint for imagination, equal parts Rorschach test and mechanized mandala whose contemplation allows you access to hidden inner truths. Of course, this only raises more questions about the man behind the mysticism. He took the time to address a few of my queries about process, precision, and future projects.

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Art has always been about exploration and inspiration for me. I get excited working with new materials and looking for new bits of ephemera. Each piece is both an in solving spatial/compositional problems and the examination of a variety of themes: interstitial spaces, unfulfilled histories, new combinations of forms, and unfulfilled potentials. For the viewer, I want to instill that same sense of confusion, curiosity, and contemplation.

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I definitely relate to them on a more symbolic level. I pull inspiration from their complexity, form, arrangement, and the precision in which they are crafted.

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Fragments of things, images, sounds, a miscommunication, the negative space created by two buildings, the specific way a page has been folded or how it is falling apart… Mostly it’s the idea that the piece of ephemera I’m using has a history – it had a purpose, a unique form for that purpose and now that purpose, more often than not, has passed.

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Personally speaking, I enjoy having materials that are relatable in my collages – I enjoy establishing connections and creating confusion in the viewer through how I have used those elements. Commenting on nonrepresentational art as a whole – not at all.

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The precision is a result of my need to offset the abstract nature of each collage with a sense of intention. To imply that there is a purpose to the shifting structural and topographic forms, though no end form can be predicted.

Each collage comes about usually in one of two ways: I either have a generalized form i wish to pursue as a starting point or I select a fragment of paper from one of my many envelopes and piles, place it down on the support and then continue from there. The piece grows with each successive addition – resulting in further spatial/compostional problems to solve.

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I guess all of my efforts can be seen as some aspect of collage – my personal collage/ and the work I do with ‘s collaborative drawings/paintings. Team Macho is the meshing together of five people’s ideas, esthetics, obsessions and friendships and each piece is the result of that. We all use a myriad of media to solve the pieces we are working on together. Within the context of the collaboration I tend to focus on more objective collage whereas with my personal work I prefer to work abstractly and non-objectively.

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The labels were only up for a short time as part of a fundraiser/promotion for the store. A handful of local artist were asked to make labels for certain section and not specifically say what they were. The shop’s owner Stephen Fowler prefers that the shelves remain label-less to help encourage the sense of discovery by the customers and I took that as the starting point for each of the illustrations – to visually remain cryptic and make the customers push for that connection, looking over the books on the shelf and then back at the label to figure out the analogy being made.

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I’m currently working on some paper and wooden sculptures for a show happening the end of August at called “DAZZLE” and Team Macho, the art collective i’m part of, is having its first show in two year at Narwhal called “Hibernation Sickness” this November. I also have a few print pieces in the works which i will hopefully have done for a small print fair in October.