Gary Hurst born South Africa and now lives in Berlin and Marseille. He makes drawings, installations, short video works, live video performances and designs sets for dance and theatre. Since 2003 he has collaborated with RaumlaborBerlin on numerous projects. His work gives form to the random relationship between the experience of the everyday and the remaining memories. He uses digital editing to create structures within which the process of remembering can be visualised.


Navigational Narratives

…chronicles, made long after, shaped by the remembering process.
Hurst’s artistic practice has long been focused on video, often in collaboration with musicians, architects, theatres,  choreographers and dancers, but recently I have returned to drawings as well.  Intimate structures harbouring faces, samples, collages, insular, associative images that draw from my own biography, everyday and lifelong routine transience, as well as illuminating my preoccupying interests in zwischenraum, time, place, maps, words and music.  Set in a vocabulary images and words that translate the inbetween quality of time, place and the flow of ideas, association, dreams and the ruptures within relationships to people and place.



Many of these works explore aspects of historical events, both personal and collective with an emphasis on, migration and social relations without ever clearly drawing a the line between fiction and non-fiction. I clear systematic representations of meaning and  deconstruct narrative structures, knowing that the remaining traces will endure – loaded with connotation. This approach allows the me to investigate events from multiple perspectives, and thereby resist any single reading.



For flickering screen tired eyes, drawing demands an other time, – a slow consideration toward touch, perception and recall. Inherently intimate, instinctive visualisations of sensibility, a momentum of receptivity or idea drawn out onto the paper . They emerge from memory, observance and my nervous line, tracing the changeability of my world, folding sensations into depictions of my environment, thoughts,  physical, emotional and imagined places, looking seeing thinking studying gaining knowledge of what exists in the world. In these eerie and evocative works on paper, the nameless subject, gives up its identity, the trappings of definition and clarity to reflect the interior walls of a tenuous reality of remembering, reflections on the relation and notation of identity and memory.