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Katerina Jebb (born 15 November 1962) is a British-born artist, photographer and film-maker. After studying drama at St Anne's College, in 1984 she moved to California to study photography. Her first works were photomontages which she created inside the camera, originating from repeated exposure of a single roll of film. In 1989, Jebb moved to Paris and worked for the French newspaper Libération. In 1991, Jebb began to employ machines to make life-size images, primarily self-portraits, laying herself on a high-resolution scanning machine. Subsequently, she explored a greater diversity of techniques in parallel with the expanding possibilities in digital technology. Jebb proceeded to remove parts of the scanner to facilitate maximum extension of the subject. The duration of each passage of the scanner echoed early photographic principles, being seven minutes long, therefore demanding of the sitter to lie motionless for 28 minutes.〔(【引用サイトリンク】title=Biography » Katerina Jebb )〕 The resulting images appeared in museums and galleries, notably The Whitney Museum as part of The Warhol Look (1998), a world touring retrospective. Her early work was subsequently published in Life, The Times and Vogue. She also uses domestic scanning machines, and composes multiple digital files to create an exact rendition of the original. Simulacrum and Hyperbole, a 12 part series of videos featuring Tilda Swinton, Kristin Scott Thomas, Marisa Berenson and Kylie Minogue was exhibited at Gloria Maria Gallery Milan. In these works Jebb parodies contemporary consumerist practice in advertising. The Japanese brand Comme des Garçons subsequently commissioned a series of perfume campaigns entitled "You Can Find Beautiful Things Without Consciousness" employing the same satirical language. The series is presented on Jebb's imaginary TV channel, Lucid TV, and was premiered on Purple Television in 2014. ==Technique== Within the exhibition "Les rencontres de la photographie", the followed critical commentary was made on her work (original text in French): Much has already been written on the relationship between death and photography, on reality and fiction, on the blurring of genres – all fundamental themes in contemporary photography and also in the work of Katerina Jebb, an English artist based in Paris. What catches the attention is the weird aesthetic conjured by her technique. Her portraits – now printed from scans, and previously from photocopies – use a method that seems to denature life and maybe even nudge it over to the other side. And on the other side, the skin is even smoother and sometimes porcelain-white in colour; forms flatten and the aura of the gaze vanishes forever – as if, precisely, the breath of life was so diminished as to be lost. The stiffness of the characters gives us no clue as to the model's position: are they levitating, or are we in the presence of recumbent funerary statues? This stiffness, and the sumptuous dresses, also call to mind the saints carried through southern European streets during religious processions. The sacred has a part to play, too. Wavering, perhaps. Is this gaze – which isn’t one, really – eternity? The moment the photograph was taken is no longer at issue. These are frozen images – as is any photograph, of course, but here the function is multiplied. Mummification or embalmingo. In 1890, Dr Variot, a Paris hospital physician, proposed a new method of embalmingo, ‘galvanic anthropoplasty’, based on the use of silver nitrate, a substance well known to the period’s photographers. Katerina Jebb plays a little game of convergence and of process exchange: in a dizzying mise en abîme of the medium’s basic principles, she shows us an image whose aesthetic comes close to this idea. The garment – the most beautiful garment, of course – is deposited. As if it were the last worn; as if it were for eternity. What is captured is thus no longer an instant of life, but the appearance thereof in all its splendor. The Director of the Musée Galliera wrote the following text concerning her work: I feel that Katerina Jebb desires to produce photographic works to chase away her doubts. Aided by the cold ray of light, it is the object, the clothing and sometimes even the human body that she examines in its shell, its skeleton. She turns photography into a ritual and sacred exercise in which the clothes and portraits are seen in a raw state. Her lost and rediscovered images are the absurd and drained mirrors of our worlds, of which they reveal tenderness and a sense of abandonment.〔(【引用サイトリンク】title=Journal d'une Parisienne : Katerina Jebb )〕 Olivier Saillard Director of le Musée Galliera Paris, 2012 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Katerina Jebb」の詳細全文を読む スポンサード リンク
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