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scapes. Loose and painterly brush strokes coryure up dervish-like trees amid geometrical planes. The interplay of color, light and line is whimsical and energetic. The eye is never locked into any shape nor do any shapes feel isolated.
Stephens limits himself to six or seven tubes of paint “to keep things simple.” This year he has been interested in layers of color and has chosen acrylics to accomplish this as they dry more rapidly than oil paint. These thin layers of color create light-filled paintings.
There is one large oil painting in the show, “Afternoon Fog.” The paint has been rubbed and scraped to create the same effect as in his layering of the acrylics. The softness of the layers of transparent paint and shadows of underdrawing create a grassy “haymown” effect in the foreground hillsides. And standing there in it all is a majestic tree that spirals up and whirls out from the scene.
Another highlight of the show, are several small three-dimensional molded-paper paintings. They are saturated with color, light, texture,
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