News Reviews


  • Prismatic DivisionsEssay by Diana Daniels, Curator of the Crocker Museum, CA
  • Gilman Contemporary, Sun Valley – 2017 Solo Exhibition
  • Kelsey Michaels Fine Art Gallery, Laguna Beach, CA – 2017 Solo Exhibition
  • Toomey-Tourell Gallery, San Francisco – 2013 Solo Exhibition
  • Artist Interview with Michael Corbin
  • online curatorial project



Scott Shields, Chief Curator, Crocker Art Museum, Sacramento
“Stephanie Weber’s paintings pulsate. Colors reverberate against one another yet coalesce in a brilliant chromatic whole. Composed of horizontal or vertical stripes and broader fields of color, the apparent simplicity of Weber’s current work is deceptive. Her surfaces are worked intensely and are rich in variety. Soft-edged fields of color float atmospherically. Medium-width bands appear abraded, and narrow stripes waver only slightly to avoid the appearance of rigidity. The quietly reflective surfaces of the honeycomb-aluminum panels that the artist uses as a support add luster to this paint layer. These richly pigmented panels of dazzling color converse with themselves and with the viewers who contemplate them.”

Suzaan Boettger, Art Critic and Historian, New York
“Weber intensifies the presence of structure by painting on sheets of aluminum, their open edges revealing a honeycomb network sandwiched between sheets. This support’s metal grid signals industrial fabrication, another contrast to the fluid color, and which heightens the sense of a juxtaposition of a classicizing ‘yang’ and painterly ‘yin…’ [Weber’s] art displays the benefits of years of discriminating making and looking, of being embedded in both history and contemporary culture, yet maintaining her own engagement with a particular luscious order of beauty.”

Carole Naggar, Art Critic, New York
“If they were music, her images would be scores; if texture, they would be fine faded rugs or antique weavings; and if films, they would be scissored strips laid out in rows in the editing room… Surface treatment and media vary from one zone to the next: some areas are rich and painterly, leaving brush strokes apparent and recalling Diebenkorn’s ‘Ocean Park Series’ or Oliveira’s ‘Steles.’ Others superpose a thin wash of oil over acrylic, while some are flat, crisp and razor-edged… Yet what could be a disparate patchwork possesses depth and unity… These discordant areas could be termed sensuality and logic, or inside and outside. But like the alchemist or romantic poet, Weber knows how to make ideas physical.”

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