Informed by a combination of painting theory, architecture and
engineering, Kathryn Stevens' work explores the twin painterly
ideals of depth and palette. Stevens' work investigates the
representation of depth through an implied three-dimensional
structure on a two-dimensional plane. Her paintings also explore
the effect of variation in the tonal range of a colour on the
structure present on the canvas. The result is work that emits a
rhythmic, quasi-electric energy, underpinned by a sense of
mathematical precision.
Inspired in part by the immediacy of architectural and urban
spaces in the modern environment and the interaction between
surface and structure in modern glass-and-steel construction,
Stevens' earlier works explored the limits of three-dimensional
space with rectilinear division. With the introduction of curved
line
and the use of tonal blocks of colour to suggest depth and to
further energise the composition, Stevens' later
works warp this limited space and lend fluidity to her
expression of three-dimensional structure.
As Stevens explained of the works in her 2008 show,
Viewfinder: "the now more dominant foreground grid gives
them more clarity, emphasizing the act of looking. The interface
between viewer and painting is more evident: we are looking from a
real space into a possible one."
Stevens was a finalist in the 2006 Wallace Art Awards and tutors
in painting at Auckland's Artstation, mentoring students alongside
fellow artist Matthew Browne in the year-long 'Painter's Studio'
course.