Stephanie Brooks

Rhona Hoffman Gallery

Stephanie Brooks employs the ability of certain strategies associated with Minimalism to yield surprisingly emotional and intimate results. The title of a work such as Daydream Painting: holding hands on the Pont Neuf (Bedroom) (all works 2004) hints at a lush romanticism and confessional familiarity that seems initially at odds with its pristine abstract aesthetic. The picture’s surface is immaculate, an unperturbed field of light periwinkle blue acrylic on aluminum that reads as cool and aloof. But the dimensions of the painting are exactly those of the window in Brooks’s bedroom, while its pale color is an attentive approximation of the Illinois sky. What initially seemed hard-edged and detached suddenly becomes nuanced and personal, more diaristic than analytical, underlining the slippery nature of such distinctions.

Daydream Painting: your smile after we kiss (Metra) hits a similar

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