January & February at Juan Alonso Studio

  1. ATER 1 by STEPHANIE HARGRAVE, Image 1.

    ATER 1

    Ink & Acrylic on Translucent Yupo Paper

    25 x 38 in

    $900

  2. ATER 4 by STEPHANIE HARGRAVE, Image 1.

    ATER 4

    Ink & Acrylic on Translucent Yupo Paper

    25 x 38 in

    $900

  3. VENTER 2 by STEPHANIE HARGRAVE, Image 10.

    VENTER 2

    Porcelain/Stoneware Blend, Encaustic

    9 x 8 x 2.25 in

    $800

  4. VENTER 3 by STEPHANIE HARGRAVE, Image 9.

    VENTER 3

    Porcelain/Stoneware Blend, Encaustic

    11.5 x 8 x 3.25 in

    $800

  5. AEONIAN FORM 1 by STEPHANIE HARGRAVE, Image 1.

    AEONIAN FORM 1

    Stoneware, Encaustic

    16 x 11.5 x 4.5 in

    $1,500

  6. VENTER 6 by STEPHANIE HARGRAVE STUDIO, Image 1.

    VENTER 6

    Porcelain/Stoneware, Encaustic, Cardboard, Book Pages, Steel Wire

    14 x 12 x 3.5 in

  7. WIP - VENTER 28 by STEPHANIE HARGRAVE, Image 1.

    WIP - VENTER 28

    Stoneware, Encaustic, Cardboard, Book Pages, Steel Wire

    29 x 12 x 4.5 in

    $4,000

  8. VENTER 8 by Stephanie Hargrave, Image 1.

    VENTER 8

    Stoneware, Encaustic

    5.5 x 4.25 x 2 in

  9. VENTER 12 by Stephanie Hargrave, Image 1.

    VENTER 12

    Stoneware, Encaustic

    8.5 x 5.5 x 2 in

    $400

  10. VENTER 15 by STEPHANIE HARGRAVE, Image 17.

    VENTER 15

    Stoneware, Encaustic

    9 x 7 x 2.5 in

    $500

  11. VENTER 18 by Stephanie Hargrave, Image 1.

    VENTER 18

    Stoneware, Encaustic

    17 x 11 x 4 in

    $2,000

  12. WIP - VENKA 8 by STEPHANIE HARGRAVE, Image 4.

    WIP - VENKA 8

    Porcelain/Stoneware Blend, Encaustic

    9 x 6.5 x 2.75 in

    $800

  13. VENTER 24 by Stephanie Hargrave, Image 6.

    VENTER 24

    Porcelain/Stoneware Blend, Encaustic

    13.5 x 10 x 3.5 in

  14. VENTER 26 by STEPHANIE HARGRAVE, Image 5.

    VENTER 26

    Stoneware, Encaustic

    16 x 12 x 6 in

    $2,200

  15. VENTER 25 by STEPHANIE HARGRAVE, Image 1.

    VENTER 25

    20 x 15 x 4 in

    $2,800

  16. DJAMOR 4 by Stephanie Hargrave, Image 1.

    DJAMOR 4

    Stoneware, Encaustic, Steel Wire

    12 x 7 x 5 in

  17. FLASHIK 8 by Stephanie Hargrave, Image 2.

    FLASHIK 8

    Stoneware, Encaustic, Steel Wire

    9 x 7 x 7 in

  18. CREATURE 1 by STEPHANIE HARGRAVE, Image 2.

    CREATURE 1

    Acrylic, India Ink on Yupo Paper

    20 x 26 in

    $460

  19. CREATURE 2 by STEPHANIE HARGRAVE, Image 2.

    CREATURE 2

    Acrylic, India Ink on Yupo Paper

    20 x 26 in

    $460

  20. CREATURE 3 by STEPHANIE HARGRAVE, Image 6.

    CREATURE 3

    Acrylic, India Ink on Yupo Paper

    30 x 27 in

    $570

  21. CREATURE 4 by STEPHANIE HARGRAVE, Image 4.

    CREATURE 4

    Acrylic, India Ink on Yupo Paper

    30 x 27 in

    $570

  22. CREATURE 5 by STEPHANIE HARGRAVE, Image 2.

    CREATURE 5

    Charcoal Pencil, Acrylic, India Ink on Yupo Paper

    25 x 38 in

    $1,200

  23. CREATURE 6 by STEPHANIE HARGRAVE, Image 2.

    CREATURE 6

    Acrylic, India Ink on Yupo Paper

    25 x 38 in

    $900

  24. CREATURE 7 by STEPHANIE HARGRAVE, Image 3.

    CREATURE 7

    Acrylic, India Ink on Yupo Paper

    25 x 38 in

  25. ELEGANT MONSTER 2 by STEPHANIE HARGRAVE, Image 5.

    ELEGANT MONSTER 2

    Acrylic, India Ink on Translucent Yupo Paper

    25 x 38 in

    $630

  26. ELEGANT MONSTER 3 by STEPHANIE HARGRAVE, Image 5.

    ELEGANT MONSTER 3

    Acrylic, India Ink on Translucent Yupo Paper

    25 x 38 in

    $630

  27. TIVOLI 1 by STEPHANIE HARGRAVE, Image 4.

    TIVOLI 1

    Acrylic, India Ink on Yupo Paper

    30 x 54.5 in

    $1,600

  28. HYBRID 16 by Stephanie Hargrave, Image 2.

    HYBRID 16

    Encaustic on Birch Panel

    40 x 30 x 0.75 in

  29. HYBRID 33 by STEPHANIE HARGRAVE, Image 2.

    HYBRID 33

    Encaustic on Birch Panel

    40 x 30 x 1.75 in

    $6,000

  30. MEDULLA 3 by STEPHANIE HARGRAVE, Image 1.

    MEDULLA 3

    Acrylic on Yupo Paper

    15 x 18 in

    $330

  31. MEDULLA 2 by STEPHANIE HARGRAVE, Image 2.

    MEDULLA 2

    Acrylic on Yupo Paper

    15 x 18 in

    $330

  32. MEDULLA 1 by STEPHANIE HARGRAVE, Image 2.

    MEDULLA 1

    Acrylic on Yupo Paper

    15 x 18 in

    $330

  33. MEDULLA 4 by STEPHANIE HARGRAVE, Image 2.

    MEDULLA 4

    Acrylic on Yupo Paper

    30 x 27 in

    $570

  34. MEDULLA 5 by STEPHANIE HARGRAVE, Image 2.

    MEDULLA 5

    Acrylic on Yupo Paper

    30 x 27 in

    $570

  35. VELOCITY 30 by Stephanie Hargrave, Image 1.

    VELOCITY 30

    Encaustic on Birch Panel

    8 x 8 x 1 in

  36. VELOCITY 31 by Stephanie Hargrave, Image 2.

    VELOCITY 31

    Encaustic on Birch Panel

    8 x 8 x 1 in

  37. VELOCITY 32 by Stephanie Hargrave, Image 2.

    VELOCITY 32

    Encaustic on Birch Panel

    8 x 8 x 1 in

  38. VELOCITY 33 by Stephanie Hargrave, Image 2.

    VELOCITY 33

    Encaustic on Birch Panel

    8 x 8 x 1 in

  39. VELOCITY 34 by Stephanie Hargrave, Image 2.

    VELOCITY 34

    Encaustic on Birch Panel

    8 x 8 x 1 in

  40. ELEGANT MONSTER 1 by STEPHANIE HARGRAVE, Image 1.

    ELEGANT MONSTER 1

    Acrylic, India Ink, Pencil on Yupo Paper

    13.25 x 11.25 x 0 in

    $240

  41. BELLOW 2 by Stephanie Hargrave, Image 1.

    BELLOW 2

    Encaustic on Birch Panel

    24 x 24 x 0.75 in

  42. SOAR 2 by STEPHANIE HARGRAVE, Image 2.

    SOAR 2

    Encaustic on Birch Panel

    14 x 14 x 1 in

    $600

This body of work corresponds to and is an extension of the show I am currently in at Soda Arts by LEICHT Seattle with Iris Guy Sofer (303 Occidental, Seattle, 98101). Titled "A Few Good Years in New York" it features the work I made during the early years of the Covid pandemic. The work reflects my fear and dismay after having moved to Brooklyn just weeks before the shut-down. I was in my favorite place but unable to enjoy it, suddenly. Without a place to do encaustic paintings or access to my Chelsea ceramic studio, I began working on paper in an apartment. Slowly I began feeling better, but many of the works were very dark. The first ones had black ink poured and pulled across the entire painting, which felt like the heavy blanket that had formed over society, with not only the Covid situation, but also the rampant racism going on and the murder of George Floyd. To lift my spirits during the lock-down, I spent weeks studying the deep sea and bioluminescence. Later I made the dark Prussian blue encaustics with lighter hues melted in, which reference jellies and the types of fish that lose their eyes or become translucent with the lack of light in the deep crevices of the ocean. It was an awe inspiring bit of learning that renewed my appreciation for all things biological, and made me feel like the ocean, at least, had a grip on how to sustain life as an environment. Soon I was able to do all the work I wanted. I was fortunate enough to spend that summer at the great Judy Pfaff's art compound in Upstate New York working in her huge barn with encaustic artist Michael David as the first two participants in their artist residency. This is where I developed most of the sculptural works made of clay and finished in encaustic. They reference the body - whether human, sea life, or made up bodies of creatures. The wax surfaces emulate the look of skin at times when they bloom (bloom is a film that occurs naturally on the encaustic surface unless polished), and the VENTER series are about bellies, cavernous, concave or otherwise. Now back in Seattle, I've had a chance to look at all the work together, and they seem to be having a conversation. The sculptural works, with their bone-like and sometimes pelvic or torso-like references, speak to the 'monsters' made with ink, and the encaustic 'sea creatures' add a voice with a nod to the power of the sea, and all that is unknown and sometimes frighteningly foreign. All the works seem to encompass my experiences for the past 3 years, which were exciting, frustrating, lonely, educational, filled with art making and art viewing, and of course, social distancing. I even began using color again, and the pink pieces speak, again, to the body - tissues and delicacy, a lighter bit of mark making after 2 years of uncertainty. Because I don't make realism, these experiences are expressed abstractly with a touch of humor, wonder, dismay, curiosity, intentional awkwardness, and an unsettled feeling about the future. Contact me at [email protected] or 206.227.5332 if you'd like to see the work in person. Juan Alonso Studio: 306 S. Washington Street, Studio 104, Seattle, WA. 98104 www.stephaniehargrave.com

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