From the Tucson Weekly, published October 4th, 2007:

Mixed-media works at Conrad Wilde highlight Saturday’s downtown ‘Big Picture’ celebration

“Parts of the Whole, a show of collage and assemblage opening this Saturday during The Big Picture, a free gala evening of multiple receptions sponsored by the Central Tucson Gallery Association… Of all the Parters, New Yorker Greg Stephens sticks closest to painting, but look closely, and you’ll see printed pictures glued in between layers of bumpy, rusty-colored acrylics. “Detained” has a sensuous St. Sebastian pushing at the rafters that rein him in, and nearby, a pair of 1950s gents in crewcuts.”

DeCordova Museum and Sculpture Park, Lincoln, MA, 1994

This first-time collaboration for The Computer Museum in Boston and the DeCordova Museum and Sculpture Park in Lincoln featured 100 pieces by 36 New England artists. Artworks at both museums range from stained glass, mosaic, painting, and sculpture to digital collage, interactive installations, virtual reality and animation.

“Computer animation and an electronic soundtrack composed by the artist are the basic technical elements of Greg A. Stephens’s video Death is the Seed. Using images of demons, angels, saints, and martyrs from the history of Western art, Stephens creates shifting visual patterns. Symbols of death come alive, as it were, in a pulsating fabric of mortality. The sampled vocal line ‘When I become death, death is the seed from which I grow,’ ironic is its sinister delivery, is spoken by poet William S. Burroughs.In Stephens’s video collaboration… Fragments of a Vicarious Childhood, animations, computer-processed video footage, and Super-8 film combine in a collage of memory. Fleeting layers of dancing pictographs, landscape imagery, and nostalgia-tinged ‘home movies’ blur together in an exploration of time’s effects on remembered and imagined events.”

Nicholas Cappaso
catalogue for The Computer in the Studio
DeCordova Museum and Sculpture Park
Lincoln, MA,1994

Club Cafe, Boston, MA, January – February 1990

• The Kiss
  Collage & acrylic and wood in wood box
• Absent Friends
  Collage, acrylic, metal, glass and wood in wood box
• Memory of Autumn, 1986
  Collage, acrylic and metal in wood box
• Mighty Tonka (Boys Don’t Cry)
  Metal, wood and found objects in wood box
  10″ x 15″ x 8″
  1989

“Greg Stephens’ small, delicately crafted assemblages combine paintings and found objects in the creations of personal metaphors that touch on issues like childhood experience and gender identity. ‘Mighty Tonka (Boys Don’t Cry)’ is the best of these.”

Tom Grabosky, “Main Courses,” Bay Windows, Vol.8, No.5