Jeffrey Lubow

Jeffrey Lubow approaches his work as an exploration of unstable ground. Nothing is fixed; everything can be reworked, erased or shifted. His gestures unfold without a predetermined plan, allowing transient forms to surface, sometimes interrupted, sometimes concealed. For 30.5, he extends this approach with Telepath, a series where contrast deepens and balance remains unresolved. The result is a shifting structure shaped by tension, erasure and repetition, like a map in perpetual formation.


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  1. If you had to describe what you do without mentioning images, where would you start?
  2. There’s a sense that things often begin again. Are you trying to get closer to something, or to delay it?
  3. When you erase something, do you already know if it’s a loss or a gain?
  4. Do you think a gesture can carry several meanings at once?
  5. Is a fragment ever enough for you? Or are you always looking for a whole, even if unstable?
  6. Do you follow what you see… or what you sense?
  7. Is there such a thing as the “right moment” in your work — or is it all a matter of distance and deviation?
  8. You often erase. What exactly are you refusing?
  9. Do you allow room for accidents, or is it the accident that shifts your direction?
  10. Do you ever feel the surface resisting you? Or pulling you toward a specific zone?
  11. Do you feel a connection between what you do and silence?
  12. What matters most to you: how something appears, or how it disappears?
  13. You sometimes mention “formal tension.” What do you mean by that?
  14. Do you distrust finished form? Do you prefer what remains unstable?
  15. Do you think an image can contain doubt?
  16. There seems to be a back-and-forth in your work between intention and withdrawal. Is that deliberate?
  17. When you look at an older piece, do you still see something in it… or do you already want to erase it?
  18. Do you think you could have done this kind of work ten years ago?
  19. And what you’re searching for today — do you think you’ll ever find it?
  20. Do you see black, white, and grey as a constraint — or as a language of their own?