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John Jebb
John Jebb left England and went to California when he was awarded a scholarship to study for an MFA in Sculpture and Video at the University of California, Los Angeles. Following a successful Solo Exhibition in LA in 1984, he went to Carrara, Italy and bought several tons of marble! He exhibited regularly in California and across the USA, selling my work and completing private commissions. My work is in collections in the USA, UK, Korea, Japan and the Netherlands. After a decade of working alternately between California and England, He moved permanently back to the UK in 2008 to a studio near Cirencester. The human figure is his primal source of imagery inspired by positive and negative forces, light/shadow, harsh/gentle, action/stasis, masculine/feminine, creating connections with the mythical and metaphorical. The process of carving requires decisive action. The approach is subtractive and exists in its final form without a record of the process used to produce it. He works with a degree of flexibility that belies the hard uncompromising nature of the material itself. Inevitably, after completing a work of art, analysis is possible, as any library of art books will confirm. His work is no different, and it is endlessly intriguing to discover the myriad of interpretations that are credible. He hopes his work activates the viewers own imagination if they so choose. He is inspired by people he knows, artists whose work lifts his spirit and individuals who endeavour beyond the mundane. Images seem to come from his response to experience. Sculpting creates dimples, bumps, and other irregularities in the fabric of space.. in the field of space-time He makes art to release his imagination in an organic process of discovery. Visual images that envelope him in the quietness of the dark of night, launch him into creative activity in the light of day. Elusive qualities of beauty bounce around in his being until they find stillness through his hands and mind in a necessary activity to counterbalance societies' tendency to linear order, control and utilitarian literalness. Before him is a block of stone, rocky and heavy to lift. He saw in that block what you see now. Picking up his hammer and chisels he goes right in to find the form, the image that patiently waits for resolution, after many hours, days, weeks, months even years. Drawn to sculpture since he was knee-high to a grasshopper his affinity for the subtractive process led to carving stone, a material that gives expression to his ideas. Since time began we make images of ourselves in an inexhaustible expression of human existence. To him the body is both sacred and profane but often displaced to a side show. He chooses to make it centre stage, naked, vulnerable, intimate and in relationship. The path from inspiration to intention is not only determined by design and composition but also the carving process itself, with forms, shapes and patterns emerging through intuitive interaction as he chips away at blocks of stone...

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