Reclining Venus

“Though the years, Venus has been a reoccurring subject in the world of art, drawing inspiration from renowned artists, among them the Renaissance masters Botticelli, Giorgone or Artemisia Gentileschi, who painted a sleeping Venus in a Baroque setting. Actually, the renowned Canadian sculptor Jock Hildebrand has given this subject a new connotation, re-interpreting the Venus in his own unique language. The head of Hildebrand’s Venus sits on a massive neck base. The head seems to be twisted straight. The sculpture is composed of individual, organic shape elements, but by no means resolves the outline or identity of the sitting person.

Jock Hildebrand’s current work, Reclining Venus, suggests a symbiotic relationship between figure and landscape. The landscape, as well as the anatomical features, suggest an influence from Henry Moore, who has been influenced by the landscape, but also by ancient Mexican Chac Mool figures.”

– Excerpt from an article in a book about Hildebrand sculpture​ entitled ”RECLINING VENUS and other unknown Beings of Jock Hildebrand” by Dr. Barbara Aust-Wegemund

Bright Knights

"Made of stainless steel, this abstract sculpture stands at the entrance to Focal Point, a condo and retail development near the Langley/Cloverdale border in BC, Canada. It is intended to be representational of a welcoming and place-holding figure, and could also be seen as a protector. The polished stainless steel reflects light in a dizzying way both day and night. At night, it is illuminated in various colours.” – City of Surrey.




Marinostrum is part of Hildebrand’s series of environmental sculpture. He has amalgamated a number of marine shapes and made them look like fossils. The beauty and originality of the form is a great example of Hildebrand’s masterful ability as a sculptor.” – Carmen Hays (Editor – SculpturesPacific Magazine)

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Not Primitive

Not Primitive was created in the summer of 2007 in the town of Horice in the Czech Republic. The 12 ton sandstone sculpture is loosely based on a west coast First Nations rattle that resides in the University of British Columbia’s Museum of Anthropology. The rattle has the figure of a frog sitting on a man’s chest, its long tongue entering his chest as a way of imparting knowledge. Hildebrand’s intense interest in First Nations west coast art hugely influence the sculpture. It is currently residing in a town square in Hradec Kralove.


Humour is almost always apparent with Hildebrand’s sculptures. Herd evidences this. Always searching for iconic images, this referential sculpture talks about grazing animals. There is a quality of authenticity which Hildebrand’s long sculptural experience easily imparts. The humor? It lies in the title Herd as in “Where is the Herd?”

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Jock Hildebrand often works in a digital format, designing and rendering sculpture in 3D. Cephalopod is one such sculpture. Existing in digital form until the right venue is found for it, Cephalopod is a creative interpretation of the following definition:

Cephalopod: any member of the class Cephalopoda of the phylum Mollusca, a small group of highly advanced and organized, exclusively marine animals. The octopus, squid, cuttlefish, and chambered nautilus are familiar representatives.

Any of various carnivorous marine mollusks of the class Cephalopoda, having a large head, a mouth with a chitinous beak surrounded by arms or tentacles, and in most species, an ink sac containing a dark fluid used for defense, and including the octopuses, squids, cuttlefishes, and nautiluses.

Finished with a highly reflective surface, the sculpture is a playful interpretation of two octopus embracing. (Hildebrand calls this approach “referential.”) The highly polished finish allows for the environment around it to be reflected. This is not unlike the cephalopods able to change their own colour in order to camouflage themselves.

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Dancing Pedestrians

Dancing Pedestrians is a pair of cast bronze works, described by the artist as “…two abstract figures, a child and an adult, playfully dancing…on a downtown street.” The work celebrates human movement and interaction at a key intersection along Kelowna’s Bernard Avenue (BC, Canada). The sculpture was the first public art partnership between the City and the private sector. The total cost of the project amounted to $100,000.

“Jock Hildebrand has a reputation for whimsy, and this piece is pure whimsy.” – Waymarking



African Muse

As a youngster, Hildebrand lived in Ghana West Africa. His father taught in a teacher training college in a little village called “Apowa”. His experiences there are often reflected in his subject matter and in an extreme interest in African sculpture. The sculpture, African Muse, reflects that early experience in a kind of sculptural doodle.

The rather anthropomorphic sculpture is very personal and belongs to some of Hildebrand’s sculpture that have been named as an “Unknown Being” in an article in a book about Hildebrand sculpture entitled ”RECLINING VENUS and other unknown Beings of Jock Hildebrand” by Dr. Barbara Aust-Wegemund.


Heron’s Landing

25 feet high, Heron’s Landing is an abstract version of a Blue Heron, a bird common in the Nelson region of BC, where it can be found at Lakeside Park. The elegant form recognizes the grace and beauty of the indigenous bird. Hildebrand has elevated the marvellous nature of the natural form with this sculptural masterpiece. This is the largest bronze sculpture Hildebrand has made to date and the public art piece has earned worldwide recognition. Heron’s Landing was cast at Hildebrand’s own foundry.



Rising Phoenix

"I was commissioned to create a sculpture for the EDGEWOOD TREATMENT CENTRE in Nanaimo, BC, Canada. The appropriate subject matter of a phoenix became two, two rising phoenixes guarding the entrance to a maze used at the centre for meditation and contemplative practices. Using the principals of simplicity and minimalism, the two phoenixes have, I think, been successfully created.” – Jock Hildebrand


Your Thoughts Can Set You Free

This piece was a true adventure in sculpture. Completed in the fall of 2005 during Hildebrand’s second trip to Chou Doc in Vietnam, it is a 32 metric ton balancing piece held together with mortise and tenon joints only. The large half circle is of marble, the rest is of granite. Completed in 45 days, it was really an extraordinary marker in Hildebrand’s overseas work. He says of it, “I did not know if the piece would balance successfully. I got the crane to assemble the piece on the last day before I was due to fly back home and it all worked. I do admit that my heart was in my throat on that day.”

“A great tension is set up between the curvilinear and geometric forms and force of gravity between the balancing of such huge elements. There is a dynamic inter-relationship of solid masses and planes in space in perfect tension in this work, a symbol of power and energy.” – Patricia Ainslie, Okanagan Artists in their Studios — Published by Frontenac House




A massive inexorable force, campaign, movement, or object that crushes whatever is in its path. This carved marble piece captures the nature and personification of perseverance. It was sculpted from marble quarried from north Vancouver Island, B.C. Canada. Its graceful strong form evidences some gentle and soft qualities, creating a different narrative and a complex story theme, not obvious at first glance.

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“I was invited for the first time to Vietnam to create a sculpture that would be placed in the Nui Sam International Sculpture Park. The sculpture Water was a combination of references to aquatic creatures and the legendary Naga (Naga is a Sanskrit word meaning ‘snake’, ‘serpent’ or ‘cobra’). In Hindu, Buddhist and Jain mythology, a naga is a half serpent and half human, semi-divine creature. According to the legend, the nagas once inhabited Earth, but became too numerous. Lord Brahma sent them to a luxurious underworld kingdom where they guard treasures and palaces. Although potentially dangerous, they were ordered to bite only those who were evil or who were destined to die.

At a total of 7 tons, carved of marble and granite, it also acts as a sundial casting a shadow directly at the granite base on the noon hour.” – Jock Hildebrand


Vientos del Sur

“In April of 2006 I was chosen by the city of Puntarenas in Costa Rica to create this large 8 ton piece. In Puntarenas, the wind would come up the beach where I was carving just after noon cooling down the work site. The sculpture titled Vientos del Sur, or South wind, was created to honour this important wind that affects the local fishing community and cools the village of Puntarenas. It has been permanently sited along the seawall walk in the village.” – Jock Hildebrand

Children of Peace

Children of Peace was completed for the Municipality of West Kelowna in B.C Canada in 2002. It was during the time of the invasion of Iraq and was a statement of a wish for peace. Three children of different ethnic backgrounds are to illustrate the fact that children are not instigators of war and are in fact our only real hope for peace. As children are so often the victims of war, this sculpture also commemorates those who were killed or maimed due to man’s inhumanity to man. The marble, stainless steel and concrete piece is a call for peace from the sculptor.


Again approaching contemporary form as a reflection of other cultures, Orris is based on the carved stone forms of Devi’s in the Hindu culture. Following the typical ‘S’ shape in the female figures, Orris is a reinterpretation of these carvings which arose from 6 months studying temple art in southern India. A very, very liberal interpretation of these classical sculptures has been left in Orris.

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Complex Matter

Always looking for dynamic form, Complex Matter is purely abstract in nature. Putting movement into a static form is never easy, but Hildebrand has always been able to achieve this very difficult objective in his sculpture. The viewer is asked to interpret these kinds of abstract sculptures.

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Broken Moth

Another sculpture in the environmental series by Jock Hildebrand, asking if he projected himself into the future what would be found. It is apparent that the environment would be degraded. Hildebrand then asked himself if there was any aesthetic beauty to be found there, thus Broken Moth, a bronze sculpture that exhibits deformation and brokenness as portrayed in the lowly insect in a polluted and unhealthy environment, perhaps as an object that has its own aesthetic beauty.

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Bragging Rights

Unusual. This bronze sculpture with an integral metal rust patinaed base typifies Hildebrand’s approach to sculpture. Referencing an imaginary creature, its textured surface could represent skin or alligator type hides. Elephantine ears again suggest a creature-like being. Product of Hildebrand’s truly fertile imagination, it can only be a “one of a kind” Hildebrand bronze sculpture.

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Big Lean

Big Lean is a sculpture that celebrates companionship and relationships. In a marriage, for example, partners rely on one another; they use each other for support. The two major elements of the sculpture do rely on each other for support, without which they will fall. The internal language of sculpture allows for such nonverbal communication, and I’m anxious to use it for different means of communicating with those who are willing to engage in the dialogue." – Jock Hildebrand

Hungry Ghost

In the Orient there are mythical figures called Hungry ghost. Hungry ghost is a concept in Chinese Buddhism and Chinese traditional religion representing beings who are driven by intense emotional needs in an animalistic way. The term 餓鬼 èguǐ, literally “hungry ghost”, is the Chinese translation of the term preta in Buddhism. “Hungry ghosts” play a role in Chinese Buddhism and Taoism as well as in Chinese folk religion.

According to the tradition, evil deeds that lead to becoming a hungry ghost are killing, stealing and sexual misconduct. Desire, greed, anger and ignorance are all factors in causing a soul to be reborn as a hungry ghost because they are motives for people to perform evil deeds. These ghosts are so avaricious they consume everything around them including their own bodies. When they have eaten their own lower jaw, they are prevented from eating anything else. Thus they wander around in the lower realms, perpetually starving.


Poetry of Exchange

Poetry of Exchange was collected by the Government of China during an exhibition of some of my sculpture at the Museum of International Sculpture in Changchun, China. It is a very whimsical piece, and from my time lived in Ghana, West Africa, it seems to follow some of the fetish juju pieces that I was lucky enough to see. A certain magical quality emanates from it and its mysterious presence seems to fascinate people. As a result of their collecting my piece, I was awarded a medal of honour from the Chinese government which I proudly display in my studio.” – Jock Hildebrand



“Smaller sculptures give me the opportunity to play with sculptural ideas. This is my sort of ‘free time’ in the studio. The title, Aye-Aye, is derived from the nautical term for confirmation of an order. Some sense of this seems implicit in the small bronze piece. Yes sir, Aye-Aye seems to say… at least to me. I have a long history on the ocean, having been a commercial fisherman as a young lad and having sailboats for most of my adult life, so nautical terms come easily to me.” – Jock Hildebrand



Gravitas — “high seriousness (as in a person's bearing or in the treatment of a subject).” In light of an ironic approach, the bronze sculpture appears to take itself seriously. Perhaps that is an incorrect perception of itself, lending both the irony and humour intended by the sculptor.

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