In 1989 Jebb relocated to Paris and worked for the French newspaper Liberation. In 1991 she was involved in a car accident which paralyzed her right arm. To resolve the inability to hold a camera, Jebb began to employ machines to make life-size images, primarily self-portraits lying herself down on a high resolution scanning machine. Progressively, she diversified, posing subjects and objects, exploring the medium in parallel with the expanding possibilities in digital technology. Jebb proceeded to remove parts of the scanner to facilitate maximum extension of the subject. The duration of each passage of the scanner echoed early photographic principles, being seven minutes long, therefore demanding of the sitter to lie motionless for 28 minutes.
The resulting life-size images,were embraced as a new visual medium and began to appear in Museums and galleries, notably The Whitney Museum as part of The Warhol Look (1998). Her early work was published in Life Magazine, The Times and Vogue.
Jebb's work has flourished from its photographic origins, proceeding to disrupt the boundaries between mediums. Her photography has made way for video art and installations . In her work, Jebb considers the human conditon with arrant sensitivity, offering the viewer a depiction of women that rejects the normalized, commercial female role. Her series, Simulacrum and Hyperbole offers a critique of women's representation in television and advertising through parodic videos featuring renowned female icons. These works simultaneously evoke laughter and pathos in their observance of the irrationality of popular expectations of women.
Katerina Jebb’s work was the subject of a solo exhibition at Musée Réattu Arles showing 111 large works and video installations from 1996 - 2016 .