Stephanie Hargrave (www.stephaniehargrave.com) explains, "My encaustic work strives to combine biology and botany with imagery that isn’t overt necessarily, but feels ultimately familiar. I’m influenced by the shapes of natural structures as varied as pods, spines, pollen, DNA strands, sea urchins, cellular structures, blooms, bones and husks. My paintings incorporate a tendency to abstract organic forms, and in doing so, emphasize the direct correlation between subject matter and materials, as pure bee’s wax, resin and pigments are heated, layered and fused with a torch."
What art do you most identify with?
Abstract & Minimalistic Art. I have always loved the open-ended meaning that comes with the viewing of abstract work. That said, it always depends on the art . . . sometimes I really identify with realism, but most often, I find myself mesmerized by that which suggests vs spells out, and that which is simple and clean in form.
Where can people normally find you hanging out?
In my yard or in my studio.
If you could own a piece of art by any living artist, what would it be (or whose)?
I would really enjoy owning work by Gabriel Orozco. I certainly don’t have the room for anything, and owning is out of the question, but since you asked . . . his large scale sculptures impress me to no end – his large skeleton pieces, and modified cars . . . . I love his installations, his carved rocks, his photography and paintings, but would be happy with that round hunk of tar that he rolled down a street in San Francisco I believe it was?
What is often overlooked about your work?
I’m not exactly sure what is overlooked about my work, but would guess that the number of layers is perhaps not immediately apparent. At the end of a piece, so many hundreds of layers have been applied, fused, scraped, added again in brush strokes small and large - it’s hard for me to even be accurate on how many layers there are, but these thin layers accumulate in (I think) interesting ways, and sometimes they are just seen as “background.” Sometimes it’s this background I spend most of my time on, and labor over.
What kind of art could we find your home?
My home is filled with the work of my friends and acquaintances. I have a few pieces by people I have yet to meet, but hope to one day (one being the printmaker Eugenia Woo). I gaze daily at the work of lovely locals: Juan Alonso Rodriquez, Rickie Wolfe, Etsuko Ichikawa, Robert Hardgrave, Dawn Endean, Layne Cook, Frances Smersh, Marita Dingus, Diane Culhane, Dave McGranaghan, Maura Donoghan, Kamla Kakaria, RobRoy Chalmers, Tom DeGroot, – the list goes on. Some of the work is abstract, some fiber, some photography, some realistic, most abstract to a degree, some sculptural and some 2D.
Tell us a story of when you sold your first piece.
A woman was interested in a smallish painting she saw in my old jewelry studio many years ago. When I suggested $65 she jumped! I was so surprised . . . and delighted! That first sale of something that had no function other than to look at felt great.
- 2016 Capers, Biology & Botany (Seattle)
- 2016 Shift Gallery, Organella (Seattle)
- 2015 Studio 103, Aggregate | Odonata (Seattle)
- 2015 Studio 103, Aggregate | Dissupare (Seattle)
- 2015 Capers, New Works in Encaustic (Seattle)
- 2016 Confluence Gallery, Back to the Garden (Twisp)
- 2016 Shift Gallery Pop-Up, 1941 First Avenue (Seattle)
- 2015 SLO Museum of Art, Another Way of Keeping a Diary (San Luis Obispo)
- 2015 Gallery One, Holiday Group Show (Ellensburg)
- 2015 Encaustic Art Institute, 5th Annual National Juried Encaustic Exhibition (Santa Fe)
- 2015 Encaustic Art Institute, Capra Hircus 3 (Santa Fe)
- 2014 University of Washington Medical Center, Petalous 3 & 4 (Seattle)
- 2013 Kaiser Permanent Baltimore Hub, commissioned 3 encaustics (Baltimore)
- 2011 Swedish Hospital, 7 Digital Photographs (Seattle)
- 2010 Swedish Hospital, Redmond Campus, commissioned Anemone 1.2 (Redmond)