John Rose moved from England to China in 1976 where he taught painting and drawing at the University of Hong Kong while exhibiting regularly at the Art Center gallery. He traveled extensively throughout Asia absorbing the shapes, colors and flavors, inspiring his work today.

He was a painter until the early 90's, when his work took on a more three-dimensional format and evolved into sculpture. He uses poplar wood to construct the Zen-like forms that bear relation to his interest in visual scientific data. Poplar has great malleability and can be bent, molded and twisted into calligraphic like forms, portrayed in
'Odalisque 2003'.

Residing in Los Angeles since 1983, he has exhibited in the US continuously and has achieved international recognition with many corporate commissions around the world - his most recent commission being the installation of 16 large scale hanging sculptures in the entrance of The Westin Diplomat in Hollywood, FL.

In 2003 The Frederick R. Weisman Museum of Art purchased a major sculpture from his "Infinity" series and was displayed in the 'Minimalism and More' exhibition. Two solo shows followed in January 2004, at the Bentley Gallery in Scottsdale, AZ and at the Robert Berman Gallery in Santa Monica, CA.


He currently lives and works in Venice, CA and is showing new sculpture at the 'Bentley Projects Gallery', in Phoenix, AZ.

His sculpture, Odalisque (pictured) forms part of the permanent collection at the Kavli Institute for Theoretical Physics.



According to String Theory, absolutely everything in the universe – all of the particles that make up matter – is comprised of tiny vibrating strings. The only difference between one string and another is its vibration, or resonant pattern. The fundamental particles of the universe that physicists have identified – atoms, protons, neutrons, electrons and quarks – are the characters of all matter. If we could examine these particles with great precision, we would find that each is not point-like but instead consists of a tiny loop, like an infinitely thin rubber band, so each particle contains a vibrating, oscillating, dancing filament that physicists have named a string.

From The Elegant Universe, by Brian Green.

New technologies such as computers and the scanning electron microscope have enabled us to transform the diminutive into the gigantic. We can see inside the most miniscule of particles, what was once invisible is now visible. Essentially this super vision of scientific imagery, in particular DNA spirals and protein configurations, is the keystone for inspiration in the creation of my work. I lived in the Far East for many years and acquired a love of calligraphy, the speed and flow of a brush generates an ideogram of great beauty and meaning. Prayers, drawn by fingertip in the earth, manifest a more raw immediacy. Each of the forms I construct intones a certain fluidity, derived from this fusion of the graphic and scientific, distilled into a pure essence. I use poplar wood because of its great malleability and simple surface qualities, which allows evidence of the process of making and remaking to remain, giving an overall zen sensibility. I want the viewer to relate to each work with warmth and familiarity, make recognition on a subliminal level and yet each be a completely new and exciting experience.

John Rose
March 2006