Stephanie Pierce
VoyagerDetail 1 (voyager)Detail 2 (voyager)Untitledhearing-sense-self-confoundHowlinglightAngels are dreaming of youUntitledUntitled UntitledHowlUntitledEcstatic staticlightisnotlongenoughDiscordant waveCosmosdetail- Cosmos

click on image to view largerUntitled radiant welterUntitledUntitled Untitled Untitled Untitled(liminal)UntitledDandelionFire pitUntitled (delay)Discordantwave / material noiseUntitled (yellow chair) Wolf IntervalUntitledUntitledUntitledFaldumLow humUntitledUntitledUntitledUntitledUntitledMore of thisUntitled (something else)Everything is Germinalcurrent, compass, radio, staticUntitled Untitled ContractUntitled (moth)Untitled (listening to the anarchy hour)UntitledUntitledUntitledUntitled Something I learned todayUntitled (ice storm)UntitledLightening DreamUntitled (flip)Take care of the past
My painting seeks an intersection between perception and abstraction using the phenomenon of light, space, and form as personal metaphor. The paintings track my experience of perception as light moves through the space of the room in a continuous wave. Left in the lights wake, overlapping moments are caught in suspension. Fragments of color, light, and location accrue and change with the progression of each day. The paintings can take from two months to a year to complete, and often span seasons. Over time, a break down of information and a loss of solidity occurs, giving a sense of the visual unfolding into forms and space that are at once material and immaterial.

Each painting deals with it’s own problem, idea, or reference, including literature, layered reality, memory, and interrelationships between light, time, and sound (music). Objects that I depict are those that I see as symbolic/ transformative, such as a window, radio, a plant, or a book. Right now I’m most interested in an overwhelming intoxicating welter and the impossibility of being able to entirely understand or encompass an experience. Simultaneity, coalescence, or crystallization of an emotional light, are the result of shifting, decision, and the excitement that comes from the unmapped course each painting takes.



Several years ago I began to paint my bed, which was initially in response to reading a line by Gaston Bachelard, “everything in the life of a poet is germinal”. The idea that everything can be germinal, or that everyday experiences can be source material, resonates with the connection that I seek between life and painting and the idea that perception holds potential for new iterations of experience. The intimate and almost universal space of a bed has become a platform for metaphors and ideas; it's a space that can bend towards dream space, landscape, absence, or presence. Each painting deals with it’s own problem, idea, or reference, including literature, layered reality, memory, the importance of music, or simply that light is not still and I am not still. “Faldum”, in which a figure is dissolving and aligning to form a mountainous shape, references a short story by Herman Hesse along with Cezanne's “View of Mont Sainte-Victoire”. The painting titled "Wolf Interval" alludes to the unconcealed visual dissonance in the shifting light as day turns to evening. Objects find their way into the paintings as things that I see as potentially transformative, such as a radio, a plant, or a book. The objects become symbols and their symbolic meaning then influences the visual. Radios show up along with patterns that could be read as visualized static; the painting event and the form find a way to connect.