There is an aspect of the readymade in Stecky’s series of sculptural paintings or assemblages that explore the idea of an alternative organization of puzzle pieces.
His work begins around ideas of collecting and cataloging materials to use in compositions that reflects a distorted nostalgia in its reinterpretation of modernist practices.
The grid-based works of similar repeating elements employ a variety of strategies in both the choice of colour and the arrangement of the patterning, from chance operations, music theory, processed based techniques, and disruption.
The resulting repetitive structure creates both a moiré effect and a dissonance of pattern. The pictorial genre of the ‘landscape’ is re-evoked as tectonic plates, a syncopated vibrating rhythm contained and encased in a minimalist grid.