Sara Hubbs is a visual artist whose work examines the discarded shapes of material culture as sites of meaning. She uses abstraction to connect intimacy, absence, and relationships between objects and the body within the context of the everyday. Sara makes both two and three-dimensional work, utilizing plaster, glass, paper and product packaging.

She has shown locally, nationally and internationally. Her work has been included in group shows at the Ex-Teresa Arte Cultural in Mexico City, The Delaware Center for Contemporary Art, The Castle Gallery at the College of New Rochelle, NY, Yun Gee Park Gallery in Tucson, Spattered Columns in NYC, and Modified Arts in Phoenix among others. She attended residencies at the Vermont Studio Center and at The Cooper Union and is a founding member of the Stew-dio Visit Artist Collective, recipient of a stART Mini Grant from the Arts Foundation for Tucson and Southern Arizona. Sara completed a BFA in Painting at Arizona State University and an MFA in Visual Art at The George Washington University where she received the Morris Louis Fellowship.

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Statement: Pushing Shapes (Glass work)
I became very aware of plastic when I gave birth to my daughter as plastic tubes entered and exited my body. The first time I touched my child I reached through a plastic box and felt her hot skin, avoiding the plastic tubes entering and exiting her body. Motherhood seemed linked to plastic, it quickly filled my home from the baby bottles to berry containers. Vacuum-formed plastic toy packaging and the waste from gift-giving made its way into my work. The abstraction and materiality of the plastic toy containers are placeless, abundant, ungrounded and everywhere.
I combine these hard geometric shapes into sculptures resembling multi-form bodies or volumes. I then make a plaster mold of the sculpture into which glass is blown: the glass vessels become a representation of the empty mold. There is a physicality to this labor-intensive process that engages chance, where breath pushes glass into the strangeness and limits of shape. The vessels seem to gesture. They lean. They slump. Some pieces have protruding textured forms, like parts of a body or growths. Some appear carved or indented, while others resemble boxes.
Questions related to corporeality, intimacy, value, vulnerability and permanence arise from the associations we attach to materials and the way we engage metaphorically with the container and with form.