Precariously balanced on pointy-stepped tip toe, Our Lady of the Conscious Optics embodies a fashion of aesthetics. The figure, a compilation of enlarged and recycled images, resonates with the ghost-like presence of parlour tricks, an apparition of plywood and the transient inscription of printer’s ink. Rejecting its own physical existence, Stephenson’s piece resolves as a sculptural facsimile: conveying form as a sketchy construct of perception.