JEFFREY JOHNSON

Jeffrey Johnson received his Bachelor of Fine Arts at the Rhode Island School of Design, specializing in sculpture, illustration, and animation. He furthered his arts education by entering the field of animation as a character animator, studying with the great directors and artists at Disney, Industrial Light and Magic, Dreamworks, among others. While working at Industrial Light and Magic on the recent Star Wars saga, Johnson studied with master sculptor in residence Richard Miller and further honed his sculpting ability.

 

In 2005 Johnson received a lot of attention in Marin County for a series of group shows he participated in depicting a woman in bronze titled, "Tranquility March," loosely referring to Katherine of "Wuthering Heights". In the July issue of 2008, Pasadena Magazine mentions Johnson as a local artist to watch. That same year Fingerhut Gallery of Laguna Beach added Mr. Johnson to their artist roster, representing his bronze portrait work. 

 

In 2008 and 2009 Johnson has exhibited his sculpture with the Ryman Foundation’s annual charitable program “An Affair of the Arts” in support of aspiring teenage artists. His work is in private collections in the United States, England, and France. In addition to sculpting, from 1996 to present, he held the position of Animator. He has animated on films such as Disney's “Tarzan”, “Industrial Light and Magic's”, “Star Wars Episode II” and Dreamworks’ “Sinbad”. While at Universal Studios, he served as a supervising animator for the “Curious George” movie and most recently as a supervising animator for Fox on the hilarious “Simpson's Movie”.

 

"My creations as a sculptor are primarily concerned with capturing the essence of my subject by using the gesture, expression, motion and the timing of that motion. By utilizing my fascination for human and animal forms and every subject's unique form of locomotion and by focusing on interpreting a moment in time as experienced through a sense of heightened emotion and physical gesture that could be understood as a universal language, I try to reveal the true essence of my subject. It is an overall abstraction that is intrinsic to my subject that I am in search of and each abstraction is as unique as a snowflake. Since the earliest age I have always felt the need to communicate to others, how I interpret the people and situations around me through a visual media and at the same time, there is always a musical equivalent that I attach to the gestures, shapes and marks I make. I feel the best about my work when those shapes are free enough to be extremely expressive the way good musical improvisation takes off and can then reunite with melody and rhythm to tell a whole story, or become an allegory. My goal is to answer the abstract equation locked within each sculpture I attempt. Pushing and pulling and playing with proportions in a subtle or extreme way leaves me with the pleasure of knowing that my destination is more than likely my continued pursuit. I only feel I have achieved something unique when I have thoroughly edited out the simple imitation of a subject and have come upon something truer by being expressive. Suggesting rather than describing is the one rule I impose upon myself, that I believe, allows the viewer to feel the energy coming from life and with any luck, will show others how I witness and interpret the world and how I hope to sculpt my life."

 

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