Huma Bhabha was born in 1962 in Karachi, Pakistan. She now lives and works in Poughkeepsie, New York. Notable solo exhibitions include; Unnatural Histories'at P.S.1/MoMA Contemporary Art Centre, New York, USA (2012-2013); ‘Huma Bhabha: Players', Maramotti Collection, Reggio Emilia Province, Italy (2012); Aspen Art Museum, Colorado, USA (2011); Galerie Niels Borch Jensen, Berlin, Germany (2011); Stephen Friedman Gallery, London, England (2010); ‘New Work', Grimm Fine Art, Amsterdam, The Netherlands (2009) Ridgefield, USA (2008). Recent group exhibitions include; ‘America is Hard to See', Whitney Museum of American Art, New York (2015); ‘56th International Art Exhibition - All the World's Futures', Venice Biennale, Venice, Italy (2015); ‘LAT. 41° 7' N., LONG. 72° 19' W', Martos Gallery, East Marion, New York, USA (2013); ‘A Different Kind of Order', The ICP Triennial, International Center of Photography, New York, USA (2013); ‘Land Marks', curated by Doug Eklund and Anne Strauss The Metropolitan Museum of Art, New York, USA (2013);. Bhabha's works are included in prominent collections internationally, including the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; New York Public Library, New York; The Whitney Museum of American Art, New York; Nerman Museum of Contemporary Art, Kansas; Saatchi Gallery, London; The David Roberts Art Foundation, London; Centre Georges Pompidou, Paris.
Huma Bhabha creates sculptural assemblages out of a diverse range of materials such as Styrofoam, air-dried clay, wire, cork and scraps of construction material. By combining an eclectic range of cultural and historical references, such as the barren landscapes of Andrei Tarkovsky films and ancient Cambodian Temples, Bhabha creates work that is suggestive of a forsaken post-apocalyptic landscape. Similar to the power of science-fiction, Bhabha amalgamates these diverse sources in order to discuss an alternative time and place, which is impossible to place within our historical or cultural memory. There is a moving poetry to Bhabha’s work, achieved through her frequent decision to expose the armature of her sculpture. This choice renders the work seemingly unfinished creating an unnerving vulnerability and arresting sobriety to much of her work. This effect of alienation removes a singular identity and thereby creates a new suggestion of humanity that addresses our perpetual universal struggle with: war, history, human violence, colonialism and hegemonic struggle.