Stephanie Britt

Red Matrix, 2020
Oil on Canvas
24 x 30 in (60.96 x 76.20 cm)
A little background on the term “matrix” — Webster’s defines a matrix as something from which something else originates. (Also a rectangular array of mathematical elements that can be combined to form products with similar arrays.) Similar to matrixes, Fractals are things that are found to contain a complete image of itself, both inside and outside of it’s own complete form. Fractals appear in nature all the time - in seashells, fern fronds, etc. I can’t help thinking that Fractals and Matrixes must be related to “Fibonacci Sequences”, defined as a linear difference equation, each component being a sum of the two preceding ones. Jackson Pollack’s work was said to have contained fractals, and some observers of my work have noticed the occurrences of Fibonacci sequence. Just sayin…. Lastly, I think it is very cool that Iron (red) oxide is what makes the Southwestern rock formations so beautiful, and interestingly, the pigment in the oil paint that I used to create the paintings is literally (essentially) from the very rocks that I painted! (thus, the matrix reference).
Stephanie Britt
Stephanie Britt’s interest in abstract art began while studying painting, color and design with Ringling College of Art and Design Professor Bruce Gregory, a student  of famed French cubist Fernand Leger.  This introduction opened the door to further interest and study of other influential artists and movements of the time including Bracque, Mondrian, Cezanne, Cubism and Futurism.
Although different stylistically, later studies with contemporary figurative artist Zhaoming Wu and noted portrait artist Daniel Greene further influenced Stephanie's work.
The use of contrast is the most valuable discipline in my painting. The search for contrast of every sort, whether value, texture, pattern or color is what drives my painting and even extends to the relationships between elements within the picture plane; positive/negative, analogous/complementary and energetic/serene. 
Establishing a sense of movement within a painting is another primary consideration. As a book illustrator, I was a sequential artist for a number of years. As I moved exclusively into fine art painting, I continued to employ the concept of sequential art in painting as I drew upon my early inspiration with the analytic phase of cubism and futurism. I identified with the way certain early twentieth artists responded to their environment, a world of constant motion enhanced by innovation.  I strive to comprehend and to translate my own world of movement and change, to “synthesize the impressions of the world” as the Salon Cubists did, and in doing so, create in my work a sense of tension and aesthetic balance.