Jaclyn Stephens

My connection to process has always survived through an uncanny sense of empathy: being a physical body that can own an evolving, air-sized identity called ‘perspective’. In my studio, my work and I have been at a rather steady bouncing between living tacitly present and ephemerally boundless. Recently, this involves mostly a lot of deconstructing and reorganizing previously placed materials and already formed ideas.  Lately, this deconstructing/reorganizing process has been extracting a handful of manifestos like, “The only better word for the word ‘metaphor’ is ‘this iridescent art stuff’,” “I’m probably bird people, swooping up and down of parallel territories,” and a few more usual unknowns.​​
(studio wall)
various media and dimensions

*Photograph by Cassandra Zetta, courtesy of Five Dots Cincinnati


purple blanket shade 
silk monotype matrix, marker, monotype on kitakata paper, thread, graphite, color pencil, arches paper 
12 in x 12 in approx. 



moss land light shapes, memory  
silk monotype matrix, intaglio, silk monotone, polyester screen, color pencil, wool, thread
8 in x 8 in approx.


from installation: instinctively periwinkle torpedoes, buoyant and safe., 
paper pulp, carton, pigment kentucky coffee wood, silk Habotai, silk monotype, intaglio, color pencil, ink, paint, graphite, and found lithograph

*Photographs by Scott Beseler, courtesy of The Carnegie – Covington KY


buoyancy, bruisancy, apples
intaglio, monotype, color pencil, and graphite on Magnani Pescia paper
12.25 in x 12.75 in


silk monotype matrix, intaglio, guoache, ink, thread, monotype on kitakata, image transfer on canvas, marker, polyester screen, paper pulp, carton, pigment, water-soluble interfacing
4 ft x 6 ft, approx.