Mixed Media on Aluminum or Paper
Stephanie Weber’s paintings have been exhibited in galleries nationally. She has also had solo shows in multiple museums, including the San Francisco Fine Arts Museum and the Oakland Museum of California. Her work is part of many private, corporate, and public collections, such as Smithsonian American Art Museum, San Francisco Fine Arts Museum, Oakland Museum of California, Brooklyn Museum, and Philadelphia Museum of Art, among many others.
Weber’s rich abstract paintings combine acrylic and oil on honeycomb aluminum panels. The lush and developed color and spatial arrangement of her paintings integrate seamlessly with the cool shimmer of the aluminum panels. Layered dimensional form and clear structure are always present in Weber’s work.
She received her Bachelor of Fine Arts from UCLA, where she studied with Elmer Bischoff, John Paul Jones, Nathan Oliveira, and Richard Diebenkorn. She received residencies at the American Academy in Rome and The Tamarind Institute in New Mexico.
Stephanie Weber lives and works in Berkeley, California.
My paintings are an exploration of emotion and logic. I create a clear structure while striking an emotional chord with color, form, and richness.
I am deeply stimulated by the outside world by nature’s many expressions— strata, earth, water, sky, hair, skin, and bone. I bring together these disparate elements—both pushing you back and luring you in simultaneously. Although the work is clearly abstract, it feels like I am taking something abstract and making it palpable, giving it weight and substance.
I also reach inside myself and get a hook into something authentic—something inside of me. I want to show both the concrete and intangible worlds, what you can see and what you can imagine. Like chunks of nature interacting with and informing one another, the adjacent areas in each painting have to communicate. Just the nuance of an edge can pull you in.
My desire as a painter is to hold attention and balance between structure, reason, and intuition—the architect and the dancer in me—and to give form to what I cannot name. The work is evocative but not specific. It builds a space where unexpected associations and resonance can occur.