Can you tell us about the body of work you have been working on here in Somerset?

I decided to focus on a new works on paper that include some screen-printed line drawings that originate from a previous series of paintings. I love how paper can be so malleable and how the material lends itself to different collage techniques. I often work on sections and then cut them apart, continue to work on them some more, and then reassemble them into larger works that are patchworked together. I found myself drawn to different types of abstraction and layering them on top of each other, allowing them to clash and then create relationships where they join back together in intentional ways.

How would you sum up your practice in three words?

Collage, Release, Build.

How has the change in studio space influenced the way you have been working?

I work with many people in my studio in New York and rarely find myself alone. Here, I’ve had a lot of time to be by myself and move about at my own pace, without distractions. I tend to work on table tops, whereas in Somerset, I worked mostly with things pinned to the wall. It may sound like a simple and minor change, but it really caused me to make different decisions about how I make marks, making me think about the relationship between my body and the piece that I’m working on.

Is there anything you can’t live without in your studio?

Music.

What are you currently listening to in the studio?

I tend to listen to playlists that I’ve put together over the years. There’s one in particular that I’ve listened to a lot whilst in Somerset. It includes tracks by Alice Coltrane, Anohni, The Velvet Underground, Cat Power, Grace Jones, Kate Bush, Blood Orange, Joan Armatrading, Solange, Sade, Bjork, Roberta Flack, and of course, Nina Simone.

What have you enjoyed most about your time in Somerset?

I’ve really enjoyed travelling with my family for this residency. Having my kids pop over and draw with me, or just give their thoughts on what I’m working on has been special. We’ve really enjoyed exploring the landscape of the UK, and have gone to beaches along the Jurassic Coast in Dorset and to Cornwall, where there are incredible caves that you can enter during low tide. The landscape is beautiful and much more diverse than I expected.

Has the environment in Somerset inspired your work?

Yes. I went to school at the Royal College of Art, London in the late 1990’s and have been spending time researching some of the artists whom I learned about during my time at the RCA. Three artists that really stand out for me are Howard Hodgkin, Derek Jarman and Phyllida Barlow. There’s something about their use of abstraction that really interests me. They each have used their own form of abstraction to describe personal narratives and experiences in meaningful ways. I’ve also been reading the 2025 James Baldwin biography, ‘Baldwin: A Love Story’ by Nicholas Boggs, and have learned a lot about the challenges he experienced throughout his lifetime. It’s a fascinating and timely book.

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Jeffrey Gibson’s signature flags are on view at Hauser & Wirth Somerset as part of an outdoor sculpture presentation until 18 October 2026. Featuring vibrant patterns, texts, lyrics and slogans drawn from pop culture, and the artist’s own writings, the works reflect on the connections between collective histories and individual experiences.

Learn more about our residency program.