Hubert Barichievy was born in Queenstown, Eastern Cape in September 1980. In East London (1990), in the school yard under a milk wood tree, he created his first clay sculpture. The sculpture was of a Tokolosh and made from natural clay, foraged from underneath the tree. Hubert’s fine art practice is inspired by the intersection between storytelling, mythology and hear-say. His current work reflects his interest in the human condition.
In 2001, Hubert started studying art at a small college in East London, South Africa.Here, he attained his Diploma and majored in drawing and painting. In 2006 he returned to South Africa and studied for his B-Tech at the Durban University of Technology, majoring in painting. However, at the time his love for sculpture had already been ignited. Thereafter, Barichievy moved to Cape Town in mid 2007 and began working in the film industry, predominantly in the special effects department where he worked on a number of movies, series and commercials, most notably Judge Dread.
In October 2012, Hubert exhibited in his first group show, Mash-Up, at the Alex Hamilton Studio. Since then, Barichievy has exhibited his work at YoungBlood Africa, Artspace Johannesburg, Dorp Street Gallery Stellenbosch, Knysna Fine Art as well as The Gallery at Grande Provence in Franschhoek.
FILM AND COMMERCIALS
DNA project with Foxp2
Cornetto, Teddy Bear
Judge Dredd 3D
The Lost Future, Sculpture and Prosthetics HOD
ZA News, Nelson Mandela, Peter De Villiers, Julius Malema, Desmond Tutu
Free Willy Escape from Pirates Cove
Scorpion King 2
Since 2011 Hubert Barichievy has been doing commissions for a wide variety of clients.
Ree Treweek, Spying Speck
Ed Young, My Gallerist Made Me Do It
Puma International award trophies
National Geographic Kids, Easter bunnies
Esquire Magazine (US), Steven Spielberg
Foxp2 and South African Dairy Board, Rediscover Dairy
The inspiration for Royal Jelly was drawn from classical Greek sculpture and in particular the myth of Aphrodite. By bringing this Greek goddess of love, beauty and sexual rapture into an African context, we are provoked to ponder love, power, and the nature of Africa – the land of milk and honey.
“Royal Jelly” is a honey bee secretion that is used in the nutrition of larvae, as well as adult queens. It is secreted from the glands in the hypopharynx of worker bees, and fed to all larvae in the colony, regardless of sex or caste. a Honeycomb is a strong interlinking structural design, and a natural preservative which is loved by many animals and insects – significantly, often to their own detriment.
The journey of creating Royal Jelly has been a transition period in Hubert Barichievy’s life, from working in film and advertising to entering the world of fine art. He started the maquette while still working on Judge Dredd. After 12 hours of sculpting gory prosthetics and special effects, like severed limbs, skinned bodies, and disintegrating heads (and many a bullet and knife wound), he would work a few hours on the beautiful female figure. After months of working on the sculpture, he had her complete. It would take him another year before he started sculpting the final Royal Jelly.
When he finally had the patina bronze, he was extremely nervous to cover such a beautiful surface. On the marquettes he had glued down the suit with clear adhesive, for the full sized figure he had a suit custom made. After fitting the suit, he would seal the sculpture with 2K clear automotive finishing paint with great durability. It takes 14 coats of the 2K to get the final result. The first 3 coats need to be applied and then left to cure for 24 hours. He would then lightly sand the sculpture and re apply another 3 coats and repeat the process. After 12 or 13 coats he would then give the final light sand and apply the last 2 final coats and then proceed to bake the sculpture at 40 degrees Celsius for 4 hours.
The final step of the Royal Jelly process was to add the polyurethane resin to the base and to the fingertip. The end goal was always to see the Lycra shape over her body and allow the green of the Bronze to shine through. He later opted to make a milky white figure to try and simplify the sculpture and to also allude to the idiom “the land of milk and honey”.