Rodger Stevens is an American artist and sculptor whose principal medium is wire. Born in Brooklyn, New York, Rodger studied at the Parsons School of Design and the School of Visual Arts in New York City and is now an internationally exhibited artist with work in numerous private and institutional collections. His work, while abstract in nature, is firmly rooted in a deeply personal narrative and draws heavily upon literature, language, mathematics, human physiology, and day-to-day experience. His hand-crafted sculptural works and wearable pieces embody carefully wrought stories and ideas that are articulated through composition and form. His attention to line and narrative has led to a body of works that operates like a language of glyphs: aesthetically rich in appearance and conceptually rewarding upon closer inspection.

 

Clients, commissions, and collections include:

 

The Whitney Museum of Art, The American Folk Art Museum, PS1, Tiffany & Co., Barneys, Sothebys, Starbucks, Nike, West Elm, The Katonah Museum, The Bristol Museum, David Rockwell, West Elm, Jonathan Adler, The New Yorker, Todd Oldham, The W Hotel, Mumm's Champagne, Yohji Yamamoto, The New York Children's Museum of Art, The Federal Reserve Bank of New York, Stuart Weitzman, Persol, The Hangaram Museum of Art in Seoul, The American Greetings Company, Steelcase, Lindstrom Rugs, BDDW, The Future Perfect, David Weeks Lighting, Leonard Lauder, William Shatner, Tom Armstrong, David Rockwell, Todd Oldham, Simon Doonan, Alton Brown, Alfred Taubman, David and Jane Walentas, John Nye

 

 

For this exhibition, Rodger Stevens has created a collection of sculptures ranging in scale from large, wall-mounted pieces to delicate palm-size objects. Looping, confident forms in hammered and hand-riveted brass are fashioned using simple, traditional metalworking techniques to create sweeping contours in works that search for poise and balance. Tautly twisted metal fastenings connect open volumes to create elegant artworks with surprisingly minimal means and materials. The sculptures suggest drawings in space and are meticulously planned through an intensive process of mapping forms in working sketches, articulating spatial volumes and internal shifts in scale.

All of Stevens' sculptures begin by processing personal experiences and each contain hidden narratives. His restless search for meaning generates images, ideograms, and pictorial stand-ins as components of deeply personal events. Confusion becomes a knot, perseverance a racetrack, exertion a boulder, anticipation an asymptote, and all the twisting, bending, and shaping of his materials works toward meaningful connection between the maker and the viewer.