Jean-Pierre Hébert
Slide #13 / 1990, “Mont Huang” (detail)
Drawing, ink on paper, 19″ x27″

My first drawing on the theme of Sacred Mountains, here Mount Huang in China, surrounded by mists and clouds as any good Sung mountain should be. This has been followed by other Mountains, and other Mount Huang too.

Jean-Pierre Hébert
Slide #15 / 1992, “Down the Yellow River” (detail)
Drawing, ink on paper, 32″x44″

After seeing a Hand-scroll by Wang-Hui I decided to play with water, silt, wind and waves, and made a large piece combining Cobalt Blue and Raw Umber which remains my favorite one. An abundance of small streams and details makes really impossible to photograph it as a whole. The few visible lines are about 1/64″, so the magnification is huge, hence some fuzziness from the paper fibers.

Jean-Pierre Hébert
Slide #17 / 1996, “Poseidon, the Shaker of the Earth” (detail)
Drawing, ink on paper, 13″x19″

This Cobalt Blue and Sepia detail reveals how the work results from two spiral lines which under strict control, builds its relief, its details, its hues.

Jean-Pierre Hébert
Slide #18 / 1996
21st from the “Agnes Martin” series
Drawing, ink on paper, 4″x5″

The process followed invites to variations on a theme, as illustrated by this series of thirty small images evolving around the quiet grids of Agnes Martin. This small drawing evolved away from the series theme, but displays the natural charm of a freehand sketch which shows a medium reaching maturity, capable of simplicity as well as of excellence on demand.

Jean-Pierre Hébert
Slide #5 / 1986
Drawing, ink on paper, 7″x7″

Fractal development showing a spontaneous and rhythmic division of the plane, provided by a careful selection of the underlying geometries.

Jean-Pierre Hébert
Slide #6 / 1986
Drawing, ink on paper, 7″x7″

Short fractal development showing a hand colored division of the plane based on triangular symmetries and expansions. The coloring both underlines and breaks the inherent self similarities.

Jean-Pierre Hébert
Slide #7 / 1987
Drawing, ink on paper, 7″x7″

Fractal development plane covering, binary division of the plane and gray effects. The elegance of the paradigm is that the concept of a piece can be described in a very compact manner, whereby a rather short piece of text will encode a multitude of geometrical elements and provide for perfectly accurate and complex pen work.