Stephanie Weber’s recent work takes the viewer on a meditative, intellectual, sensual and emotional journey. Her paintings draw their inspiration from nature and display an emotional intensity and pared-down geometric sensuality that recalls Barnett Newman of the 1950s school of color field painters. Her subject is, in the artist’s words, “nature in abstract form.” The merging of external and internal is evident in the skill with which Weber blends her formalism with expressive elements. Weber’s consistent use of flat, square and rectangular formats recalls formalist tenets, while richly textured surfaces and subtle color reveal a deep-seated expressiveness. 

Although formally spare, Weber’s work employ’s seductive, nebulous textures and hues drawn from nature: burnt autumn sienna’s, deep indigos, pale ivories, and rich burgundies. Her compositions often include subtly modulated monochrome squares, stripes, or both, combined in diptychs or longer sequential compositions. If her work is obsessive, it is also stubbornly idealistic about modernist abstraction and the sumptuousness of the natural world. Her surfaces are worked intensely and are rich in variety. Soft-edged fields of color float atmospherically. Medium-width bands appear abraded, and narrow stripes waver only slightly to avoid the appearance of rigidity. The quietly reflective surfaces of the honeycomb-aluminum panels that the artist uses as a support add luster to this paint layer. Her aesthetic is thus neither a pure abstraction nor an exact description, but an architecture of the cosmos and, as she concedes, of the spirit.

“I want my paintings to contain discrete elements that come together:

- the reductive and the emotionally expressive
- the meditative with the sensual and palpable
- the industrial coolness of the aluminum with the rich warmth of handling
- the dense opaque sections contrasting with the sense of light and shimmer of the aluminum.

There is often a clarity to the sections of my paintings which must also come together with energy and strong physical presence. I’ve always been attracted to a structured format on which I can hook a lot of layered richness.”

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