Artists/Sterling Ruby

Ruby employs a vast array of materials, from ceramics and textiles to metal and polyurethane, often incorporating craft techniques like quilting and ceramics in ways that challenge hierarchical distinctions between craft and fine art. His work elevates materials and techniques often marginalized within the contemporary art discourse, reflecting his upbringing in Pennsylvania Dutch country and experiences around US Army bases​ (Home - VoCA | Voices in Contemporary Art)​​ (Institute of Contemporary Art, Miami)​.

Ruby's art critiques modernism and traditional institutions, addressing the repressed underpinnings of American culture and the violence and power dynamics embedded within. By juxtaposing symbols of domesticity and comfort with those of violence and control, he creates works that are at once visually compelling and conceptually charged​ (Institute of Contemporary Art, Miami)​.

Central to Ruby's inquiry is his exploration of the artist's role as an outsider and the significance of craft. His work investigates traditions from Amish quilt-making to California's radical ceramics tradition, using these as metaphors for broader cultural and societal critiques​ (Institute of Contemporary Art, Miami)​.

Ruby is renowned for his large-scale sculptures and installations, which range from towering metal stoves and gun-shaped sculptures to soft sculptures that imbue traditional craft techniques with new life and meaning. These works are not just visually arresting but also invite viewers to reconsider the value and significance of the materials and techniques employed​ (Artsy)​​ (Home - VoCA | Voices in Contemporary Art)​.

Beyond the traditional confines of visual art, Ruby has ventured into the realm of fashion, creating wearable artworks and collaborating with fashion designers like Raf Simons. This extension of his practice into fashion underscores his broader interest in the intersections between art, identity, and culture​ (Artsy)​.

Ruby's work has been featured in major solo and group exhibitions worldwide, attesting to his critical and institutional recognition. His comprehensive surveys at institutions like the Institute of Contemporary Art, Miami, and the Institute of Contemporary Art, Boston, demonstrate the breadth and depth of his practice, as well as his impact on the contemporary art landscape​ (Institute of Contemporary Art, Miami)​.

Stella has explored the potential for abstract art to convey narrative and evoke emotional or intellectual responses without resorting to literal representation. This aspect of his work challenges traditional views of abstraction and opens up new possibilities for interpretation and engagement with art​ (Art in Context)​.

Ruby places materials at the forefront of his work, challenging conventional material hierarchies within visual art. By integrating craft techniques such as metalworking, quilting, and using materials like Formica, polyester, and spray paint, he breathes new life into traditional methods. This approach is rooted in his upbringing in rural Pennsylvania and experiences around US Army bases, where he was exposed to both 'masculine' skills like metalworking and 'feminine' activities such as making clothes and fabric works​ (Home - VoCA | Voices in Contemporary Art)​.

A significant aspect of Ruby's work is his use of collage, which he considers vital across his entire practice. He describes this approach as "illicit mergers," blending different elements, ideas, and materials to create aesthetic juxtapositions that often feel uncomfortable yet visually compelling. This methodology allows him to express the complex, divided, and uneasy times we live in through a unique visual language​ (Artsy)​.

Ruby's sculptures, often monumental in scale, combine industrial aesthetics with a raw, untidy complexity. He utilizes a variety of materials, from repurposed engine blocks to formica and tinted polyurethane, creating powerful sculptures that range from pristine to rough and textured. His sculptures frequently explore themes of violence, control, and societal tensions​ (Artsy)​.

Contrasting with the hardness of his metal and polyurethane works, Ruby's soft sculptures employ textiles to create figures and forms that often allude to recognizable objects or motifs. These works explore a duality between strength and vulnerability, employing ironic and dark humor through patterns like the American flag or motifs such as the "husband pillow"​ (Artsy)​.

Drawing from the craft and quilting traditions of Amish communities, Ruby's paintings and textile works utilize a patchwork approach to abstract composition. These vibrant mixed-media works showcase a spontaneity that emphasizes the importance of process, materiality, and transformation in his practice​ (Artsy)​.

Ruby's ceramics are informed by a "form of therapy" ethos, where he incorporates smaller, unsuccessful pieces into larger works, such as his "Basin Theology" series. This technique creates a dialogue between decay and beauty, showcasing the tactile and sometimes sensual qualities of ceramic art​ (Artsy)​.

Expanding beyond traditional art forms, Ruby has ventured into fashion, creating wearable pieces that act as an extension of his artistic explorations. His work in fashion, including collaborations and his own clothing line, S.R. Studio. LA. CA., merges garment construction with his broader artistic concerns, treating the studio as an atelier where various forms of creative production coexist​ (Artsy)​​ (Gagosian)​.

Sterling Ruby's exploration of material and process is a fundamental theme across his diverse body of work, encompassing a range of mediums from soft sculptures and ceramics to large-scale urethane and metal sculptures. His art is characterized by a deep engagement with the physical and tactile qualities of materials, reflecting a broad investigation into the possibilities of form, texture, and meaning within a material context.

Ruby's approach to materials is not merely about their physical manipulation but also their conceptual implications. His work with ceramics, for example, is influenced by both traditional craft and a contemporary approach to form and surface treatment. These pieces often feature thick, vivid glazes and textures that evoke a sense of decay or transformation, symbolizing cycles of destruction and renewal. Ruby's "Basin Theology" series, wherein basin-like vessels contain recycled fragments of his own work, serves as a poignant example of his interest in the archaeological and the reconstitution of the past through material means​ (Wikipedia)​​ (Artsy)​.

The artist's soft sculptures—made from fabric and stuffed with fiber fill—represent another facet of his material exploration. These pieces, which range from large vampire mouths to oversized laying figures, challenge conventional notions of sculpture through their use of domestic materials and their engagement with themes of vulnerability and comfort. By transforming soft, everyday materials into monumental forms, Ruby interrogates the boundaries between high art and craft, between the menacing and the playful​ (Wikipedia)​​ (Artsy)​.

In contrast, Ruby's use of industrial materials such as metal, formica, and urethane in his sculptures introduces a dialogue with the urban and the industrial. Works like his urethane "Monument Stalagmites" or his metal sculptures that incorporate repurposed engine blocks reveal an interest in the industrial aesthetic and its socio-political connotations. These pieces, often monumental in scale, reflect on the industrial processes themselves, the labor involved in their creation, and their environmental impacts. Ruby's work with these materials is both a critique and an embrace of the industrial, highlighting the complex relationships humans have with the materials they produce and consume​ (Wikipedia)​​ (Artsy)​.

Beyond the physical manipulation of materials, Ruby's work is deeply embedded in a conceptual framework that interrogates the material as a carrier of meaning. His diverse use of materials—from soft fabrics to hardened ceramics and metals—serves as a metaphor for psychological and societal conditions, exploring themes of fragmentation, consumption, and the cyclical nature of creation and destruction. This conceptual approach is evident in his engagement with the processes of making, where the act of creation itself becomes a critical component of the artwork's meaning.

Sterling Ruby's exploration of material and process is, therefore, not just a technical endeavor but a deeply philosophical one, inviting viewers to consider the broader implications of the materials that surround them and the processes by which they are transformed. Through his work, Ruby opens up a dialogue about the nature of art, the significance of materiality, and the complex interplay between creation, destruction, and renewal.

Sterling Ruby's work navigates the intriguing interplay between public and private spaces, using his installations and sculptures to challenge conventional boundaries and engage with the environment in a way that is both critical and immersive. This theme is a central pillar of Ruby's artistic practice, manifesting through his site-specific installations, monumental sculptures, and even through his engagement with fashion and design. His works are often placed in locations that provoke a dialogue between the artwork and its surroundings, inviting viewers to reconsider their relationship with both the art and the space it inhabits.

Ruby's installations in public squares and outdoor settings are notable for their scale and their ability to transform the space they occupy. The placement of his large-scale sculptures, such as the 17-foot tall stoves presented in Basel, Switzerland, and the free-standing sculptures in Lisbon, Portugal, exemplify his interest in how art interacts with public environments. These works do not just occupy space; they alter the perception of it, encouraging public interaction and participation​ (Wikipedia)​.

By situating his art in public spaces, Ruby not only makes a statement about accessibility and visibility but also probes the distinction between the public and the private. His works in public realms often carry an intimate, personal quality, blurring the lines between what is traditionally considered public art and the introspective nature of private experience. This is evident in his use of materials and themes that evoke personal and collective memory, history, and identity​ (Wikipedia)​​ (Sculpture)​.

Many of Ruby's public installations are designed to be dynamic, interacting with the environment and the audience in ways that change over time. His encouragement of public interaction—such as inviting viewers to deface sculptures with graffiti—underscores a belief in the fluidity of art and its meaning. Such interactions highlight the temporary and ever-changing relationship between art, its context, and its audience, reflecting Ruby's interest in the ephemerality of the public art experience​ (Wikipedia)​.

Ruby's work also reflects a deep engagement with the urban environment and its sociopolitical implications. By integrating industrial materials and themes of urban decay, his sculptures and installations comment on the transformation of landscapes and the impact of human activity on public spaces. This theme extends to his exploration of the architecture of prisons and surveillance in works like STATE, which offers a critical view of institutional structures and their place within the broader landscape​ (Wikipedia)​.

Sterling Ruby's investigation into the relationship between public and private spaces is thus a multifaceted exploration that encompasses not only physical locations but also the social, cultural, and psychological dimensions of space. Through his art, Ruby invites viewers to engage with their surroundings in new and thought-provoking ways, challenging them to consider the ways in which art can influence and reflect the character of both public and private realms.

Sterling Ruby's engagement with psychological exploration within his art offers a profound insight into the complexities of human behavior, identity, and societal norms. This theme is intricately woven throughout his diverse body of work, from his sculptures and ceramics to his textiles and installations. Ruby's art becomes a medium through which he navigates and articulates the psychological underpinnings of creativity, societal roles, and personal identity.

At the core of Ruby's exploration is a fascination with the mind's workings, particularly how psychological states manifest in creative expression. His works often embody elements of schizophrenia and manic behavior, not as direct representations but as underlying themes that inform the chaos, conflict, and harmony within his pieces. This is particularly evident in his choice of materials and forms, which can oscillate between aggression and vulnerability, reflecting a psychological depth and complexity​ (Sculpture)​.

Ruby has explicitly linked his artistic practice to themes of schizophrenia and manic behavior, seeing these not as pathological but as lenses through which the complexity of the modern condition can be understood. He describes a "Eureka moment" when he recognized these elements in his work, suggesting a reflection on the confusion and challenges of making art in contemporary times. This acknowledgment speaks to a broader contemplation on the role of the artist in society and the inherent contradictions and pressures of the creative process​ (Sculpture)​.

The theme of psychological exploration extends to Ruby's interest in the dichotomy and conflict within the self and society. His work captures the perpetual tension between opposing forces—tradition and rebellion, construction and destruction, aggression and passivity. These themes are not only reflective of individual psychological states but also of the broader societal conditions that shape human behavior and interaction​ (Sculpture)​.

While deeply personal, Ruby's psychological exploration is not confined to individual experience. It also engages with the societal, cultural, and historical dimensions of psychology. Through his work, Ruby investigates how collective identities and social structures influence, and are influenced by, psychological states. This approach allows for a multifaceted exploration of the self, the other, and the spaces in between, where societal norms and personal identities collide and coalesce​ (Sculpture)​.

Sterling Ruby's incorporation of psychological themes into his art provides a rich, nuanced commentary on the human condition. By intertwining personal and collective psychologies, Ruby invites viewers to reflect on their own experiences and the broader societal forces at play. His work becomes a mirror, reflecting the complexities, conflicts, and contradictions inherent in modern life, encouraging a deeper understanding of the self and the world around us.

Sterling Ruby's engagement with psychological exploration within his art offers a profound insight into the complexities of human behavior, identity, and societal norms. This theme is intricately woven throughout his diverse body of work, from his sculptures and ceramics to his textiles and installations. Ruby's art becomes a medium through which he navigates and articulates the psychological underpinnings of creativity, societal roles, and personal identity.

At the core of Ruby's exploration is a fascination with the mind's workings, particularly how psychological states manifest in creative expression. His works often embody elements of schizophrenia and manic behavior, not as direct representations but as underlying themes that inform the chaos, conflict, and harmony within his pieces. This is particularly evident in his choice of materials and forms, which can oscillate between aggression and vulnerability, reflecting a psychological depth and complexity​ (Sculpture)​.

Ruby has explicitly linked his artistic practice to themes of schizophrenia and manic behavior, seeing these not as pathological but as lenses through which the complexity of the modern condition can be understood. He describes a "Eureka moment" when he recognized these elements in his work, suggesting a reflection on the confusion and challenges of making art in contemporary times. This acknowledgment speaks to a broader contemplation on the role of the artist in society and the inherent contradictions and pressures of the creative process​ (Sculpture)​.

The theme of psychological exploration extends to Ruby's interest in the dichotomy and conflict within the self and society. His work captures the perpetual tension between opposing forces—tradition and rebellion, construction and destruction, aggression and passivity. These themes are not only reflective of individual psychological states but also of the broader societal conditions that shape human behavior and interaction​ (Sculpture)​.

While deeply personal, Ruby's psychological exploration is not confined to individual experience. It also engages with the societal, cultural, and historical dimensions of psychology. Through his work, Ruby investigates how collective identities and social structures influence, and are influenced by, psychological states. This approach allows for a multifaceted exploration of the self, the other, and the spaces in between, where societal norms and personal identities collide and coalesce​ (Sculpture)​.

Sterling Ruby's incorporation of psychological themes into his art provides a rich, nuanced commentary on the human condition. By intertwining personal and collective psychologies, Ruby invites viewers to reflect on their own experiences and the broader societal forces at play. His work becomes a mirror, reflecting the complexities, conflicts, and contradictions inherent in modern life, encouraging a deeper understanding of the self and the world around us.

Sterling Ruby's engagement with historical and archaeological themes in his art is a profound exploration of time, memory, and the process of creation and destruction. This theme is especially evident in his ceramic works, where he often incorporates fragments of his own broken ceramics, reconstituting them into new forms. Ruby's approach to these materials is not merely about recycling but is imbued with a deeper significance, reflecting on the passage of time and the layers of history embedded within the material world.

Ruby's "Basin Theology" series is a prime example of how he integrates historical and archaeological sensibilities into his work. By using the fragments of past failures and incorporating them into new pieces, Ruby creates a tangible connection between the past and the present. This process is reminiscent of archaeological practices where objects from the past are unearthed, studied, and given new contexts. Through this, Ruby suggests that destruction is not an end but a part of a cyclical process of creation​ (Wikipedia)​​ (Sculpture)​.

Ruby's work is also deeply rooted in craft traditions, drawing from the rich history of ceramics and textile production. His ceramic pieces, for example, reference the California craft movement and German "hot lava" vessels, marrying these influences with a distinctly contemporary aesthetic. Similarly, his textile works, including quilts and flags, nod to the historical significance of these forms while infusing them with modern relevance. This engagement with craft traditions is not just a nod to the past; it's a reevaluation of the role these practices play in contemporary art and society​ (Wikipedia)​​ (Artsy)​.

Beyond the physical, Ruby's work delves into the layers of cultural and personal histories. His use of materials like textiles, often associated with domesticity and personal history, and his references to urban decay and industrial landscapes, suggest a contemplation on the impact of societal changes on individual and collective memories. Through his art, Ruby invites viewers to consider how objects and materials carry stories and histories within them, and how these stories are continually reshaped by contemporary contexts​ (Wikipedia)​​ (Artsy)​.

At its core, Ruby's engagement with historical and archaeological themes is a reflection on the nature of time and the inevitability of transformation. His works stand as testaments to the transient nature of existence, where every creation carries within it the seeds of its eventual decay and rebirth into new forms. This philosophical underpinning challenges viewers to reflect on their own relationship with history, memory, and the material world, encouraging a deeper appreciation for the cyclical nature of life and art.

Sterling Ruby's exploration of these themes offers a rich, layered perspective on the intersections between art, history, and material culture. By weaving together the past and the present, Ruby's works stand as poignant reflections on the enduring nature of human creativity and the inexorable flow of time.

Sterling Ruby's exploration of conflict and antagonism within his art is a significant theme that encapsulates the tension and opposition inherent in contemporary society, personal identity, and the material world. This theme manifests across various aspects of his work, challenging viewers to confront and consider the underlying forces of discord and harmony in the world around them.

Ruby's works often reflect on the broader societal and cultural conflicts that shape our world. Through his sculptures, installations, and multimedia works, he addresses themes such as urban decay, institutional power, and the impacts of industrialization. These themes are not presented in a binary manner but are explored through the complex interplay of materials, forms, and spaces that evoke a sense of tension and unease. For instance, his large-scale sculptures made from industrial materials can be seen as a commentary on the conflict between nature and human-made environments, as well as the antagonisms within the socio-economic structures that enable such transformations​ (Wikipedia)​​ (Sculpture)​.

Beyond the macro-level societal conflicts, Ruby's art delves into the psychological and personal antagonisms that define the human condition. His references to psychological themes such as schizophrenia and manic behavior highlight the internal conflicts and struggles that individuals face. By integrating these themes into his art, Ruby invites viewers to reflect on their own inner conflicts and the ways in which these internal struggles mirror broader societal tensions​ (Sculpture)​.

Ruby's innovative use of materials and his process-oriented approach to art-making also embody the theme of conflict and antagonism. His combination of disparate materials, such as the soft textures of textiles against the hardness of ceramics or metals, symbolizes the inherent tensions and contradictions in materiality and form. This juxtaposition is not merely aesthetic but serves as a metaphor for the complexities and contradictions of contemporary life. Additionally, Ruby's process of creating art, which often involves the destruction and reconstitution of materials, can be viewed as a physical manifestation of conflict, highlighting the cyclical nature of creation and destruction​ (Wikipedia)​​ (Artsy)​.

Ruby's interventions in public spaces, and his blurring of the lines between public and private realms, further illustrate his engagement with the theme of conflict and antagonism. By placing challenging works in public settings, Ruby not only disrupts the conventional dynamics of these spaces but also provokes public engagement and discourse. This act of intervention is itself a form of antagonism, challenging viewers to reconsider their perceptions and the boundaries of art and public space​ (Wikipedia)​​ (Sculpture)​.

In essence, conflict and antagonism are central to understanding Sterling Ruby's artistic practice. Through his exploration of societal, psychological, and material tensions, Ruby presents a nuanced reflection on the complexities of the modern world. His work encourages viewers to confront and engage with the inherent contradictions and conflicts that shape our existence, offering a potent commentary on the state of contemporary society and the human condition.

Sterling Ruby's exploration of Nature and the Environment in his art weaves through his diverse body of work, including sculptures, installations, ceramics, and public artworks. His creations often provoke a contemplation of the relationship between human activity and the natural world, as well as the ways in which society interacts with and impacts its surroundings.

Ruby's public artworks, such as the 17-foot tall "STOVE" installations in Basel, Switzerland, and Gwangju, Korea, as well as a set in Paris, France, draw a direct connection to environmental themes through their engagement with fire and communal spaces. These works serve as a literal and metaphorical hearth, inviting reflection on traditional communal gatherings and the elemental force of fire within both natural and urban environments​ (Wikipedia)​.

The artist's engagement with the landscape is further exemplified in his "SPECTER" installation for Desert X 2019, a fluorescent orange monolith set in the desert of Whitewater, California. This striking piece creates a visual disruption in the natural landscape, prompting viewers to consider the intersections of human-made objects and natural spaces. The use of fluorescent orange, a color often associated with caution and visibility, reverses traditional signals of warning and camouflages the object within the vast desert landscape, highlighting the tensions between visibility and invisibility, and between human intervention and the natural world​ (Desert X)​.

In his studio practice, Ruby extends his exploration of nature and environmental concerns through material choice and thematic focus. His ceramics, known for their thick, vivid glazes and charred surfaces, mimic natural forms and textures, evoking both the destructive and creative forces of nature. Ruby's "Basin Theology" series, wherein basin-like vessels are filled with recycled fragments of earlier works, references archaeological excavation sites, suggesting a cyclical view of creation, destruction, and rebirth that mirrors natural processes​ (Wikipedia)​.

Furthermore, Ruby's paintings and urethane sculptures draw upon environmental themes through their use of materials and visual references. His paintings, created with spray paint, embody the chaos and order found in urban environments, hinting at the undercurrents of conflict and territory that parallel the natural world's own systems of demarcation and boundary-setting. The "Monument Stalagmites" series of urethane sculptures, evocative of natural stalactites and stalagmites, further bridges the gap between the organic and the synthetic, challenging viewers to contemplate the enduring impact of human activity on the environment​ (Wikipedia)​.

Ruby's body of work, spanning various mediums and scales, consistently engages with themes of nature and the environment, inviting a multifaceted dialogue on the complex relationships between humanity, its creations, and the natural world. Through his art, Ruby offers a powerful commentary on the contemporary environmental condition, marked by both reverence and critique of humanity's role within the natural landscape.

Sterling Ruby's exploration of Identity and Autobiography in his art is deeply rooted in his personal history, experiences, and the socio-cultural environments he has navigated. Born on an American airbase in Germany and raised in rural Pennsylvania, Ruby's early encounters with Amish quilt-making and Pennsylvania redware pottery profoundly influenced his artistic journey. These early experiences are evident in his use of textiles and ceramics, reflecting a dialogue between traditional craft and contemporary art practices​ (Gagosian)​.

Ruby's work is a testament to his autobiography, particularly through the themes of resistance and defiance against societal norms. His upbringing in a conservative educational environment, where gender roles were rigidly defined, played a significant role in shaping his perspectives. Ruby recalls the restrictions he faced due to gender norms, especially his interest in sewing and calligraphy, traditionally considered feminine activities in his school. His fight to enroll in home economics classes, against the school's preferences, and his early engagement with sewing and textiles are significant markers of his struggle against societal constraints and gender stereotypes. This resistance is further explored in his art, where textiles play a critical role, serving both as a medium of expression and as a symbol of defiance​ (Artnet News)​.

Ruby's integration of materials and techniques associated with femininity, such as quilting and ceramics, into the realm of high art, challenges traditional boundaries and definitions of art and craft. His works are imbued with a sense of history, incorporating materials and techniques with deep cultural and autobiographical significance. The use of quilts, for example, not only draws from his background but also serves as a metaphor for resistance and activism, echoing his experiences and observations of protests and social movements​ (Artnet News)​.

The thematic exploration of identity in Ruby's work is also evident in his approach to collage, described as "illicit mergers." This methodology symbolizes the blending of disparate elements of his identity and experiences, creating a unique visual language that reflects his autobiographical narrative. Through these "collages," whether literal or conceptual, Ruby navigates the complexities of his identity, weaving together the personal and the political, the traditional and the contemporary​ (Artsy)​.

Ruby's engagement with fashion further extends the autobiographical dimensions of his work. His foray into fashion design, stemming from his teenage years of sewing his own clothes for punk concerts, represents another layer of his identity. This transition from personal hobby to professional engagement in the fashion industry is not only a reflection of his artistic versatility but also an expression of his personal history and the intersection of art and identity​ (Artsy)​.

Through his diverse body of work, Sterling Ruby crafts a complex narrative of identity and autobiography, challenging and transcending traditional artistic boundaries. His work stands as a multifaceted exploration of the self, deeply rooted in his personal experiences, cultural background, and the socio-political context of his upbringing.

Sterling Ruby's foray into the world of fashion and design is a testament to his interdisciplinary approach to art. This thematic exploration extends the conceptual frameworks present in his sculpture, painting, and installation work into the tactile and personal realm of clothing and textiles, revealing a dynamic interplay between form, function, and symbolism.

Ruby's involvement in fashion began as an extension of his studio practice, where he initially created garments for his studio staff. These were not merely functional but carried the visual and thematic DNA of his broader artistic practice. The act of transforming studio remnants and artworks into wearable pieces blurred the lines between art and fashion, emphasizing the studio as a site of continuous and fluid creation. This concept of "studio camouflage," as mentioned by Respini in Artsy, highlights the seamless integration of Ruby's visual language into everyday attire, merging the aesthetic with the utilitarian​ (Artsy)​.

His collaboration with renowned fashion designer Raf Simons marked a significant point in Ruby's engagement with the fashion industry. Their joint efforts not only resulted in collections that challenged conventional fashion aesthetics but also brought Ruby's disruptive and poignant visual language into the broader cultural consciousness. This partnership was celebrated for its innovative fusion of high fashion and contemporary art, illustrating Ruby's ability to navigate and influence both worlds​ (Artsy)​.

Ruby's own fashion line, S.R. Studio. LA. CA., further solidifies his commitment to exploring the intersections between artistic expression and fashion. Launched with a splash at Pitti Uomo in 2019, the line is a direct conduit for Ruby's artistic themes, incorporating elements from his sculptures, paintings, and textile works. The use of high-quality materials, developed in mills in Italy and Japan, alongside found and historical textiles, embeds each garment with a sense of narrative depth and complexity, resonating with his broader artistic concerns​ (Artsy)​​ (Artnet News)​.

The significance of fashion in Ruby's work extends beyond aesthetic innovation; it serves as a platform for the artist to interrogate societal norms, identity, and the boundaries between personal and public space. By leveraging fashion as a medium, Ruby invites a more intimate and interactive engagement with his art, allowing for a personal embodiment of his themes and ideologies. This movement into fashion underscores Ruby's interdisciplinary ethos and his belief in the porous borders between art forms.

Sterling Ruby's engagement with fashion and design is not merely an adjunct to his art but a critical component of his practice. It embodies his investigations into materiality, identity, and culture, offering a distinctive lens through which to engage with contemporary art. Ruby's work in fashion underscores the potential for art to permeate everyday life, challenging the distinctions between the gallery and the wardrobe, between art object and functional design.