 | Foot Traffic, a series of delicate xerography transfers on pigment-stained wood by R.L. Gibson, employs the use of maps, and the metaphor of dance, to juxtapose the idea of freedom, choice, and self-determination against the literal, physical boundaries of civil engineering. Further exploring what happens where the map ends. |
 | The “Traffic” series is a study of that place where cultures echo, overlap and parallel. What happens where the map ends? And are those mapped patterns enough to carry us forward? Do we follow the path we create or the one we find already at our feet? Are we stuck in traffic? |
 | Series is based on the body as the ultimate betrayer by appropriating historical, formal portraiture of children and adults in the prime-of-their-life and juxtaposing it with a forced consciousness of life altering and/or terminal illness. |
 | Series reinterprets the 7 Deadly Sins & Holy Virtues as circus sideshow 'freaks' to honor the masque form of the best & worst of humanity. The work was composed square to echo the pixel, celebrate possibility & rejects the pervasive shame of digital alteration in photography. |
 | Series explores the physical reality of my reverence for human potential. "Self as Other" and "Other as Self" as reoccurring content. As such, this series of works often unintentionally reveals Gibson's own nature as an artist, as a woman, as a human --both virtue and vice. |
 | Series explores the question, "Who defines a language?" Is a language defined by the user or some other hierarchy of trusted caretakers? Why are people often offended by truth? How does context change definition & intention? |
