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Nic Webber was born in 1988, in Newport Beach, California. During the third grade he was hit with a life altering mess that has shaped what he has become; his parents got divorced. He did not know it then, but being shuttled back and forth between houses greatly influenced his artistic intent. He became fascinated with the shapes of buildings, how each was different in shape and size yet still shared the classification of a building.


It was not until College that Mr. Webber began to recognize his artistic focus. He had dabbled in photography and graphic design in high school in an attempt to find his artistic preference. In 2006 he began graphic design coursework at California State University, Stanislaus. Upon taking an upper division sculpture class, Mr. Webber rediscovered his love for structures, particularly as the builder. He feels a particular connection between the artistic vision in his head and working to that vision with my hands.


While at CSU Stanislaus, he worked with different artists including Gordon Senior and Dean DeCocker who each helped him realize his love for sculpture. During his studies under Professor DeCocker, he found a fondness for welding and creating furniture. This affection for construction led him to his undergraduate thesis where he created multiple pieces of furniture that embodied the idea of furniture as art.


Currently Mr. Webber is working towards his Masters of Fine Art with an emphasis in Fine Art Sculpture from Academy of Art University, San Francisco. In working with the mediums he selected to create his body of work he has developed an understanding of how these modes and methods have shaped the message of his work, its relevancy, and his relationship with his art.


Although Mr. Webber desires to be a fulltime artist, he still finds joy in hanging artwork. Since 2011, he has worked for galleries installing art exhibitions. Included in the largest exhibitions Mr. Webber has installed are artworks by Edgar Degas in Edgar Degas: The Private Impressionist, Works on Paper by the Artist and his Circle, Pablo Picasso in Picasso: 25 Years of Edition Ceramics, Joan Miró in Joan Miró: Fantastic Universe, and most recently the works of Alphonse Mucha in Alphonse Mucha: The Golden Age of Art Nouveau. While these artists may be considered important and are well-known, he finds more pleasure installing exhibitions that include local artists, young artists and undiscovered talent as it may be this exhibition that helps them succeed.


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