My works have always involved satiric insights into social issues, mores, practices, and products. In style, they suggest surrealism, although not in the classic definition of being determined by dreams, naif art, child art, art of the insane, or tribal works.  One of the unique contributions of the Dadaists of the early 20th century was the inclusion of wit and multiple-entendres, both being very difficult to integrate into what are also very serious works. I labour at including other opposites: banality and sophistication, comedy and tragedy, surface realism and abstraction. These complexities, although arcane, do not render the work impenetrable. The realism that has at least one obvious interpretation is largely a hook to engage the viewer. Any wit or humour is intended to produce nervous laughter, which I regard as a kind of entropic verbalization, as valid as analytical insight. My work is often part of a continuing series, including the Semiotic Works, Inspirational Structures (high-rises to religious edifices), Consumerism, Sex & Morality, Obsolescence, Entropy & Mortality, and the interdependence of Time &Value (clocks and meters).

These mixed media works are constructed in a wide range of materials, from fibreglass, metals, wood, plastics, ceramics, and bricolage, (found technological detritus), to holography. This is not intended to be a technical tour-de-force but rather to build on ambiguities suggested by the media themselves. The irony is that the mimicry possible in different materials actually subverts reality. Some pieces use lights and/or sound as a material that satirizes by appropriating and stylizing only a snippet of experience. Objects are recreated in different media than their original substance as a way of challenging perceptions about the sculpture as an art object.

Entropy is often a theme in the work: the tendency of everything to break down, crack, spill, spoil, and disintegrate. A unifying subject is the exploration of Time, which several of

I was born in Illinois, USA ,1945; entered Canada 1971; and acquired Canadian citizenship in 1974. The University of Illinois at Champaign granted me a BFA in Art History,1967, a BFA in studio art in 1969, and a Master of Arts degree, 1971. I tought at the University of Illinois before coming to Canada. I live and maintain a studio in  London, Ontario. 

ART GALLERY OF WINDSOR (scheduled solo)
The Elephant Is The Room
(works about art making, galleries, archiving)

THIELSEN GALLERY,London, Ontario:
Works For the Visually Impaired
solo; introductory notes by Ihor Holubizky

WOODSTOCK ART GALLERY,Ontario: Two Solo Exhibitions by Joseph Hubbard:
The Elephant Is The Room
(works about art making, galleries, archiving)
Selections From WMD's & Paranoia; introductory
notes by Dr. Madeline Lennon

ST.THOMAS-ELGIN ART GALLERY; St. Thomas, Ontario:
WMD's and Paranoia : solo

THAMES ART GALLERY; Chatham, Ontario:
WMD's and Paranoia; solo

CANADIAN CLAY AND GLASS GALLERY: Waterloo, Ontario: RETROSPECTIVE:
JOSEPH HUBBARD: 25 years of Provocative Questions ~ solo
(retrospective, plus installation works, performance piece,
catalogue: essays by Virginia Eichhorn, Gil McElroy and the artist
DVD by Canadian Art Productions

STATION ART GALLERY; Whitby, Ontario:
Prohibited Areas and Non-Sites;
catalogue by Gil McElroy :(with Barb Hunt, Peter Dykhuis, Adrian Gollner, Sarah Beck)

1985
1984

Public gallery collections include Museum London, the McIntosh Gallery, and private collections in Ontario, British Columbia, Montreal, New York, Vermont, California, Illinois, Wisconsin, Nebraska. Work in foreign countries includes Mexico, England, & Holland.