As Gibson explains: “Although I have painted balls exclusively for over 25 years, I don’t really care that much about them. Of course I’m attracted to them just like anybody else. I admire their endlessness and mystery.
I love the way they can stand in for all sorts of unknowns and even the way a circle, or a shape of some kind, sits on the surface of a ball and bends into space. But I don’t paint balls because of any of that, or because I think they have some significance or ‘meaning.’ I paint balls because they are the most simple and fundamentally different thing from the flat surface of a painting that I can think of.
I like that elegant opposition of forces. Every day I try to wring a ‘real’ ball out of a flat surface and every day I can’t quite do it. In the good paintings there is some residue of that effort and in the best paintings there is a lot. In many ways then the subject of these paintings – at least for me – is just that residue: a wish for something that cannot be had; a version of a ball overlaid with desire.”