Gewalt, 2013
Family, Los Angeles, CA

Gewalt—a German word meaning both “violence” and “authority” or “established power”—is an investigation into the media utilized within contemporary systemic authorities and the subsequent violence that exists.
The exhibition is comprised of sculptures, prints, and videos utilizing propaganda culled from various sources: The New York Times, the NYPD, and an array of radical/conservative ideological texts.

To Preserve Disorder with Joaquín Segura, 2012
Otras Obras, Tijuana, Mexico

Building a State division—and in its affect, creating a hierarchy—is not only a method of destruction through creation, but a method of control. Propaganda concurrently reinforces and eliminates the inherent punctum of proclaimed power that division creates. One is capable of controlling and sustaining fate through bifurcated means—destructively through physical and cultural severance and supportively through desire.

War—by whatever means necessary—is the only tool we have to eradicate these methods of oppression. Binaries do exist, and in order to destroy them, radical approaches are required. The beginning of State invalidation must occur through cultural means, whether through intervention or abolishment. Propaganda is the entry point for infiltration and subsequent enlightenment regarding the oppression that exists through spheres that are concurrently economic, political, media, and mainstream cultural, all of which deserve the swiftly approaching eradication.

Habit Towards Obedience, 2012
Clocktower Gallery, NYC

Habit Towards Obedience consisted of three movements based on the U.S. prison system.

Upon entering the Clocktower Gallery's building at 108 Leonard St, itself a center of criminal court's, attendees were required to pass through a security check point. Proceeding to the twelfth floor, and then onto the thirteenth via a fire exit stairwell, attendees were subjected to further check points instituted by Hlebo.
In order to enter the gallery in which the piece occurred, attendees were required to take off their shoes and place their cell phone's inside, refrain from photography, and were not allowed to sit inside of the space during the duration of the piece.
Six orange prison jumpsuits, aquired from Bob Barker Company, Inc., were hung in front of the windows. Hlebo masqueraded as a correctional facility in order to aquire the jumpsuits.

PDF of the second movement's text can be downloaded here.

Filmed by Grant Willing / Edited by Jesse Hlebo / Sound by Jeannie Hopper

Generous support provided by The Andy Warhol Foundation for the Visual Arts

Still, Life Pt. 2: A Fabricated Authenticity
A solo exhibition at Printed Matter in NYC from March-April, 2011.
Exploring questions of impermanence, value and hierarchy, the body of work represents both an effort in extraordinary production, as well as the concertedly unique.

Not Nothing – UPS Tracking Number: 1Z136770392075762, 2010 / 2011
40x30"
Screen Prints, Nails, Frame, Plexiglass (Set of three)
Three screen prints of scans of dust were made and nailed inside of their frame's. Following this, the digital files, additional prints, and screens were destroyed, making the framed prints un-reproducible.

The Police Between Them, 2011
40x30" / 24x18"
Digital C print, Nails, Frame, Plexiglass, Drawing paper
A piece of paper was stabbed then photographed with a negative that had also been stabbed. The image of the paper in the digital photographic print was made to the same scale as the drawing. Following the final prints framing, the negative and all digital files were destroyed.

Detail

A Failed Death, 2010
23x15"
Screen print, Nails
A piece of paper was cut and folded into a book, then drawn over and over with a pen until the pen was broken. The paper was then unfolded, scanned, and screenprinted over and over with cyan, magenta, yellow, and black ink.

Ripped Not Torn, 2010
40x30"
Digital C print, Nails, Frame, Plexiglass
Prior to exposure, the photographic negative was ripped to the point of almost breaking before being exposed. The subject of the image is a similarly torn piece of paper on the verge of tearing entirely. The negative was then scanned multiple times, each scan creating a new image due to the negative's physicality. Following the final prints framing, the negative and all digital files were destroyed.

Many / Many, 2010
8.5 x 11" x 2
Inkjet on office paper, Nails, Frame, Plexiglass
An almost white image was printed over itself multiple times until it achieved almost-black. The accompanying relic is the paper used to wipe off excess ink from thesrc work.

Stacks of Glass, 2011
48 x 8.5 x 11"
Risograph on Office paper
An image of a punched LCD monitor was reproduced on 13,000 sheets of paper. The stack was placed precariously in the middle of four vitrines in Printed Matter's rear space.

Cheltenham, 2011
7x8.5" / 7.5x16"
Unique edition of 3 / 3 of 1,077,256
Risograph on 67lb Legal size paper, The New York Times (dated 1/6/11)
The word 'FACTUALITY' was printed in the center of legal size paper in the font Cheltenham. The typeface is used for The New York Times' headlines. Prior to printing, a hole was stabbed in the center of a stack of folded legal paper. Three copies of the Times were cut down to the edge of the title.

My All, 2011
128MB Memory sticks
Edition of 25
Twenty-Five memory sticks with all of the image and Word document files utilized in creating the exhibition were placed on each of the editioned thumb drives. Following the file transfer, all of thesrc files were erased else where.
The thumb drives were available for donation during the exhibition.

Still, Life Pt. 2: A Fabricated Authenticity, 2011
8.5 x 14"
Risograph on 67# cardstock
Edition of 50
Five revisions of an essay written on authenticity. Each revision was printed over the other in alternating blue and black inks.

Reserved Seat (relic), 2011 11 x 8.5"
Risograph on office paper
Piece's of paper used to reserve seats at the Nova Scotia School of Art and Design in Halifax, Nova Scotia during a lecture / performance / conversation. Among the topics covered were the subjects of heirarchy in publishing and how it relates to self-publishing. The piece was enacted by Hlebo, eight university students, a professor, and an outside observer.