Non-objective geometric patterns dominate Stephanie Campos’ painting’s reductive compositions, recalling the work of Kazimir Malevich and the Suprematists. The artist’s impasto application of black, red, and white paint,subverts the hard-edged forms of her predecessors allowing for updated notions of geometric refinement. Stephanie Campos comments about her work:
In order to work the Grid Machine, in a Hidden Place, Emotional, of course, trying not to feel too much like a rat in a cage, thinking about Before and After, Yesterday, Today and Tomorrow. Organize Freedom and Expect Change. Using abstract language allows one to flirt with the real, although it appears unreal, unseeable. When in the act of painting, one, I, am to be between somewhere and nowhere. Figuratively, not conceptually, but sometimes intentionally, therefore reflecting the idea abstractly.