Jason Stopa raises questions about the relationship between a painting, the wall it hangs on, and the social realities embedded within a particular architectural setting. His focus lies in exploring the interplay between geometry and sensual forms. Through his abstract paintings, he references utopian architecture, employing thin washes of oil paint to create archetypal, geometric shapes that resemble flattened sculptures. Many of his works incorporate gates, stages, and framing devices juxtaposed against arabesque forms.

Stopa's color choices are rooted in a historical lineage, tracing a continuum from Henri Matisse to Bob Thompson and Stanley Whitney. The colors he employs are rich, spatially evocative, and allude to ideals and idealism. This sense of idealism stems from a utopian perspective, which is both influenced by and challenges the Modernist notions of progress—a notion that is physically unattainable. This subject matter allows Stopa to negotiate his relationship with progress in the context of the 21st century.

The artist seeks a twofold abstraction: one that critically examines our notions of progress while simultaneously opening up new horizons of possibility. He embraces ambiguity, reflecting what Edouard Glissant would describe as "creolization," which also reflects his own identity as a person of mixed heritage. Stopa believes that abstraction can also tap into the ancient, and he paints his monolithic forms with a severe aestheticism. He is particularly concerned with the tactile quality of touch and surface, aiming to recreate the washy, ceramic glaze reminiscent of Ancient Greek pottery, which, in turn, drew inspiration from Egyptian art.

Stopa remains fascinated by how mark-making can elicit physical and atmospheric sensations that rival sculpture and create a performative aspect within painting.