These paintings span the decade of the 1950s and represent the artist’s beginnings as a second generation member of the New York School. Stephen Pace studied with Hans Hofmann and you recognize the connection is this work such as in Untitled #51-07 (Myth).  Eventually Pace shifted his focus to figurative painting in a style that found common ground with Fairfield Porter.

Although this work is overtly abstract many suggest a figurative aspect.  In the same painting referenced above this is simply the establishment of a generic figure/ground relationship.  Still, the object in the foreground appears to reference something and to establish a narrative.  This is frustrating and beautiful in that it is left to each viewer to conclude what the narrative is for them.  This occurs in a number of pieces but there is an alternative take in a painting like Untitled #55-21 where the forms seem to be shattered across the picture plane.  Here a loosely defined relationship to landscape is established.  At the same time this piece undulates with a sublime rhythmic sensibility.  The effect is simultaneously congested and open, tactile and intangible.

Stephen Pace, Untitled #54-W35A, 1954 oil on canvas, 22 x 30 in

This body of work demonstrates what abstract painting does best which is to present contradictions and contrasts that suggest several layers of meaning without being definitive.  The few figurative touchstones available are limited in their ability to assist with this.  Ultimately this is a rewarding exercise for the viewer -  an invitation to look and enjoy while

Stephen Pace, Untitled #55-21, 1955, oil on canvas, 48 x 68 in

also exercising the imagination.  Look at Pace’s dark watercolor, Untitled #54-W35A (he offers no help from titles either), and what do you see?  In a nutshell: a lot of dark color with a few splashes of white and muted tones.  But look again and there are elements to suggest a landscape.  

Stephen Pace, Untitled #51-07 (Myth), 1951 oil on canvas, 72 x 53 in

Now consider the heavy moodiness this small piece serves up. As a starting point this diminutive painting provides a sense of place and provokes an emotional reaction to it.  From here its up to you to draw additional conclusions.