Matzke Fine Art and Design

Stephanie Hargrave

Hargrave’s work has always referenced biology.  Her work centered on botany, organisms, cellular structures and sea creatures.  Abstracting the both a macro and micro level, is a custom that has grown over the years.

She submerged herself in the study of deep-sea creatures and bioluminescence that resulted in a series of black, dark Prussian blue and white encaustic paintings call Hybrid, many resembling x-rays and angiograms.  At M. David & Co in Brooklyn she created an installation that combined etymology and entomology; the concept was arthropods and the words once used to refer to them that are no longer in use. 

Whatever her focus, the underlying premise is a constant; biological functioning, and how we understand ourselves and the world we live in from that perspective.  Abstracting those ideas and generating organic-looking objects allows for a wide array of entry points into the work and encourages various interpretations.  Natural forms made from natural materials is key, but not necessary.  She works mainly with clay, wood, steel, beeswax, and paper but whatever assists with the visual message is what gets used.  

The most satisfying aspect of her practice is the making itself but seeing how the work hits an audience is vital: that is where connections are made and vault naturally into new ideas.  This process mimics biological functioning and completes the circle.

Hargrave’s work has always referenced biology.  Her work centered on botany, organisms, cellular structures and sea creatures.  Abstracting the both a macro and micro level, is a custom that has grown over the years.

She submerged herself in the study of deep-sea creatures and bioluminescence that resulted in a series of black, dark Prussian blue and white encaustic paintings call Hybrid, many resembling x-rays and angiograms.  At M. David & Co in Brooklyn she created an installation that combined etymology and entomology; the concept was arthropods and the words once used to refer to them that are no longer in use. 

Whatever her focus, the underlying premise is a constant; biological functioning, and how we understand ourselves and the world we live in from that perspective.  Abstracting those ideas and generating organic-looking objects allows for a wide array of entry points into the work and encourages various interpretations.  Natural forms made from natural materials is key, but not necessary.  She works mainly with clay, wood, steel, beeswax, and paper but whatever assists with the visual message is what gets used.  

The most satisfying aspect of her practice is the making itself but seeing how the work hits an audience is vital: that is where connections are made and vault naturally into new ideas.  This process mimics biological functioning and completes the circle.