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cinnabar fugue, mirrored (2003)
pen and ink on stonehenge paper, 25x19.5 on 44x30.5in.

testimonials

ups and downs: james elaine (curator, hammer museum) 'i will call you if something comes up.' howard fox (lacma curator of contemporary art) 'just little mathematical drawings.' colin gardner (ucsb art department, professor of critical studies) 'hébert applies the paradigms of algorithmic computer art, fractal and concrete geometry to traditional art techniques such as etchings, woodcuts, frottages, and sand "painting" in the japanese zen tradition of karesansui.' / joe grohens (wolfram research) 'his works are amazing... this is the nicest computer art i have ever seen.' werner kramarsky (moma board of trustees) 'unfortunately i stopped collecting, but i will recommend you.' / marilyn kushner (brooklyn museum of art, print and drawing curator) '... a series of more than 100 prints that are wonderful... i would have loved to have an exhibition of all of them.' / elaine levasseur (master printer) 'hébert is an extraordinarily talented artist.' / andre ribuoli (pamplemousse press/pace editions) 'this is an exploration which holds truly infinite possibilities and conveys an equally infinite range of aesthetic sophistication and beauty.' / michael solway (solwayjones gallery) 'we love your art.' / anonymous (moma board of trustees) 'your work should be at the moma and i will tell them.' / susan hopmans (david bermant collection) 'your work moves, or it looks like it moves.' /

it is the spectators who make the pictures.
(marcel duchamp)

creative commons license jean-pierre hébert contact. (17 Jun 2015)