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Photo credit: Spike Mafford
In MARBLE TOUCH Chapek portrays the moment in marble sculpture when flesh appears to yield beneath pressure, and stone seems to soften into warmth beneath the hand. Translated into paint, this intimate exchange opens into an expansive abstract landscape.
Chapek describes her practice as rooted in sensory attention and slowness, where looking, touch, and material awareness become central to how a painting is built. Thinking of herself “more as a sculptor,” she works to create a surface that exists in a kind of in-between space—neither fully deep nor entirely on the surface—where paint remains insistently present as material. In this space, shifts in scale, proximity, and perception allow multiple moments to coexist, creating what she describes as a heightened awareness of “all of these worlds happening at the same time,” and a source of empathy within the act of looking.