Artists list

Jill Höjeberg

Harmonic and sinuous works, the marble, alabaster and glass sculptures by Jill Höjeberg strike for the sense of elasticity, energy and strength. The delicate forms and the polished surfaces move the audience. Urged by a constant research of harmony and beauty, the American sculptress, who lives in Sweden, creates abstract forms which enclose the essence of femininity. Sculptures which, appearing curved and stretched towards the hedge of physicalness, embody the bond between human emotions and concrete forms.

Jill Höjeberg was born in 1949 in Norwalk (Connecticut, U.S.A). In 1967 she entered George Washington University and she specialized in Sculpture at the Art Students League in New York. During the last years, she worked periodically in Central Italy, in some of the most known places for the extraction of marble and alabaster. She took part in solo and collective exhibitions in Scandinavian countries and Italy. She lives and works in Stockholm.

Solo Exhibitions (1999-2015):

Galleri Ekvall+Törnblom (SE)
Sussurri – Del Monte, Höjeberg, Sgrò, Galleria PUNTO SULL'ARTE, Varese (IT)
Galleri New Form, Trelleborg (SE)
Borlänge Konsthall (SE)
Galleri Ekvall+Törnblom (SE)
M/Arbres – Bortoluzzi, Höjeberg, Vicari, Galleria PUNTO SULL'ARTE, Varese (IT)
Galleri Eklund Wallmark (SE)
Sigtuna Museum (SE)
Stockholm Art Fair, Sollentuna, Stockholm (SE)
Arvika Konsthall (SE)
Galleri Jan Wallmark, Stockholm (SE)

Forsbergs Gallerier, Tidaholm (SE)

Group Exhibitions (1999-2016):

ArteGenova, Galleria PUNTO SULL'ARTE, Genova (IT)
Edsviks Konsthall (SE)

BAF, Galleria PUNTO SULL'ARTE, Bergamo (IT)
Kulturcentrum i Ronneby (SE)
Galleri Eklund (SE)
Edsviks Konsthall (SE)

Ekvall+Törnblom (SE)
Engelsberg skulpturparken (SE)

Konstnärshuset, Stockholm (SE)
BAF, Galleria PUNTO SULL'ARTE, Bergamo (IT)
Edsviks Konsthall (SE)

Facciamo il "Punto" sull'Arte, Galleria PUNTO SULL'ARTE, Varese (IT)
Bergamo Arte Fiera, Bergamo (IT)
Global Stone, Galleri Hagman, Stockholm (SE)
Konstnärshuset, Stockholm (SE)
Art Stays International Festival of Contempory Art, Ptuj (SI)
Malpensa Fiere, Milano (IT)
Arte Genova, Galleria PUNTO SULL'ARTE, Genova (IT)
Galleri Ekvall+Törnblom (SE)
Konst Frontation Tingsryd (SE)
Edsviks Konsthall (SE)
Marsvinsholms Skulpturpark och galleri (SE)

Stockholm Art Fair, Sollentuna (SE)
Stockholm Art Fair, Älvsjö (SE)
Palazzo Pretorio, Piazza Dei Priori, Volterra - Pisa (IT)
KKV Stockholm, Kulturhuset, Stockholm (SE)
Galleri Hantverket (SE)
Gallerihuset, Köpenhamn (SE)
KKV Stockholm, Stockholm (SE)
KKV Stockholm (SE)

Galleri Jan Wallmark, Stockholm (SE)


Simposio Internazionale Di Scultura in Alabastro - Italy

Public Works:

Sisters, Sigtuna fritidscenter - Sweden
Human Waves, Valsta swim and sport center - Sweden
Obstacle, Sigtuna county office - Sweden
Inside out, Sagaskolan, Valsta - Sweden
Blooming, Borlänge county office - Sweden


Stockholms Art office (SE)
Sigtuna County (SE)
Borlänge County (SE)
Dalarna County (SE)
Member of The Swedish Artist Association (SE)
Member of The Swedish Sculpture Association (SE)
Chairman of the board of Atelje Organization Sikla
ndstinget Dalarna - Sweden

Alessandra Redaelli

Jill Höjeberg. The form of emotions

As stated by Jill Höjeberg, her aim is to turn stone into something soft and elastic, thus translating her dreams and delights into solid matter, since she has always been fascinated by the strong connection between emotions and forms. This is the relationship lying behind her sinuous and polished sculptures which almost induce touching. Marble, alabaster, bronze and glass sculptures which, even though belonging to the realm of Abstract, own such real and tangible features to be perceived as fragments of a gesture. A feminine gesture.

A single soft and continuous line defines the contours, while matter thickens into turgid forms which become flickering, creating a sort of primitive alphabet of emotions. There is the huge and dark figure, as withdrawn as an embrace, which clearly recalls a pagan maternity. There are the untied knots of the Abbracci series, which represent both bond and prayer; their slow, unfinished movement recalls Amore e Psiche, perfectly seized by Canova within the moment before their kiss. There are the endless spirals. The ones gathered within the Figure Femminili series: concave, comfortable, enclosed, protective and faultless forms, uterus ready to become hosts of life. There is the Ostacoli series too, where marble bears power and energy. Its forms are flickering, elegant and thin; they climb, slide and leap over to demonstrate that any obstacle can be overcome since men (or women) can go further beyond their limits.

Daniela Croci Silvuni

Guggenheim, Moma, National Gallery: hard to tell how these places have added up to the education of Jill Höjeberg. The artist was born in the United States in 1949, grew up in Washington D.C. and fulfilled her artistic formation in New York. Her major interest is xylography, and soon she discovered to be more attracted to the gesture of the carving upon wood, than to the result of the printing. The experience of the wooden sculptures was quickly left aside: the sight of a burnt house persuaded the artist of the perishability of the material, unsuitable for leaving a permanent mark through time. The solution came with the switchover to stone.

After moving to Stockholm, where she lives now, Jill Höjeberg reestablished a connection with Swedish design, an element which led her through her artistic growth. She also began a privileged relationship with Italy, to find inspiration in the places where marble is extracted and the alabaster is freed from the ground which hides it. The amazing result of this experience recalls her relationship with matter (born very early, when Jill as a child discovered the pleasure of creating forms with her hands), which transformed her into an artist capable of moulding hard and cold material as it was wax. The figures created by Jill Höjeberg make people get in touch with the hidden part of the "feeling", in order to let past and present experiences emerge. In this way curves, soft slips and sensual meetings materialize into dynamic and elegant compositions. Like a dance inviting a crystal sheet to dialogue with the snow-white stone which, magically pliable and ductile, envelops it in turn.

It rises, almost unstoppable, the will of caressing, running through the smoothness and harmonies of these sculptures, entering into the carved sides, led by the remote desire of finding something pleasing or astonishing. Harmony and beauty – quoting Höjeberg's words – manifest when human emotions find confirmation and exaltation within a physical form able to evoke and stimulate the remembrance of fulfilling experiences. Once this happens Art is found. The true one.

selected works