The process for creating a painting, or series, has to obey a set of rules, like a formula. I'll come up with a subject, and also determine the best formula for executing the piece. Things like palette, the use of reference images, compositioning, visual factors, canvas size and shape, length of time used for completion; all these things can be effected. For me it's part of the creative process. How I paint is just as important to me as what I paint. A formula must be decided upon for the subject at hand.

 
 
 
 
 
 
 
 
 
 

Screw


120 x 40 in. triptych
oil on panel
2014

 
 
 
 
 
 
 
 
 
 
 
 
 
 

Key


48 x 60 inches
oil on canvas
2011

From the series VIRTUE: Chivalry as a Memory Tradition
On view at Culture Agency, Atlanta.

 
 
 
 
 
 

Milk


36 x 36 inches
oil on canvas
2011

From the series VIRTUE: Chivalry as a Memory Tradition
On view at Culture Agency, Atlanta.

 
 
 
 
 
 

Brand


36 x 36 inches
oil on canvas
2011

From the series VIRTUE: Chivalry as a Memory Tradition
On view at Culture Agency, Atlanta.

 
 
 
 
 
 

Hide


36 x 36 inches
oil on canvas
2011

From the series VIRTUE: Chivalry as a Memory Tradition
On view at Culture Agency, Atlanta.

 
 
 
 
 
 

Rope


36 x 36 inches
oil on canvas
2011

From the series VIRTUE: Chivalry as a Memory Tradition
On view at Culture Agency, Atlanta.

 
 
 
 
 
 

Goad


36 x 36 inches
oil on canvas
2011

From the series VIRTUE: Chivalry as a Memory Tradition
On view at Culture Agency, Atlanta.

 
 
 
 
 
 

Bit


36 x 36 inches
oil on canvas
2011

From the series VIRTUE: Chivalry as a Memory Tradition
On view at Culture Agency, Atlanta.

 
 
 
 
 
 

Breeches


36 x 36 inches
oil on canvas
2011

From the series VIRTUE: Chivalry as a Memory Tradition
On view at Culture Agency, Atlanta.

 
 
 
 
 
 

Girdle


36 x 36 inches
oil on canvas
2011

From the series VIRTUE: Chivalry as a Memory Tradition
On view at Culture Agency, Atlanta.

 
 
 
 
 
 

Sabre


36 x 36 inches
oil on canvas
2011

From the series VIRTUE: Chivalry as a Memory Tradition
On view at Culture Agency, Atlanta.

 
 
 
 
 
 

Saddle


36 x 36 inches
oil on canvas
2011

From the series VIRTUE: Chivalry as a Memory Tradition
On view at Culture Agency, Atlanta.

 
 
 
 
 
 

Stirrup


36 x 36 inches
oil on canvas
2011

From the series VIRTUE: Chivalry as a Memory Tradition
On view at Culture Agency, Atlanta.

 
 
 
 
 
 

Boot


36 x 36 inches
oil on canvas
2011

From the series VIRTUE: Chivalry as a Memory Tradition
On view at Culture Agency, Atlanta.

 
 
 
 
 
 
 
 
 
 
 

 
 
Developing another set of visual rules to work with is almost like using another language, with it's own strengths and weaknesses, it's own character.  

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Arrowhead


60 x 36 inches
oil on canvas
2010

From the series The Golden Age of Man: Practical Tools
On view at Culture Agency, Atlanta.

 
 
 
 
 
 

Bone Club


60 x 36 inches
oil on canvas
2010

From the series The Golden Age of Man: Practical Tools

 
 
 
 
 
 

Horseshoe


36 x 36 inches
oil on canvas
2010

From the series The Golden Age of Man: Practical Tools
On view at Culture Agency, Atlanta.

 
 
 
 
 
 

Two Arrowheads


36 x 36 inches
oil on canvas
2010

From the series The Golden Age of Man: Practical Tools
On view at Culture Agency, Atlanta.

 
 
 
 
 
 

Nail


60 x 36 inches
oil on canvas
2010

From the series The Golden Age of Man: Practical Tools
On view at Culture Agency, Atlanta.

 
 
 
 
 
 

Horseshoe


36 x 36 inches
oil on canvas
2010

From the series The Golden Age of Man: Practical Tools

 
 
 
 
 
 

Nail


48 x 30 inches
oil on canvas
2010

From the series The Golden Age of Man: Practical Tools
On view at Culture Agency, Atlanta.

 
 
 
 
 
 
 
 
 
 
 
 

My current works include a series of landscapes & seascapes. These are executed with a distanced perspective, a cool and subdued palette, and a sense of emptiness. The specific geographic locations chosen as subjects for these range from North America to Europe, and to islands in both the Mediterranean and Pacific, but the locations are almost incidental in the finished product. The idea of capturing some of these locations in this way had been banging around in my head for a while, but it was reading Cormac McCarthy's novel The Road and Umberto Eco's Mysterious Flame of Queen Loana that was a prime incentive for me realizing this series of paintings.  
 
 

 
 
 
 
 
 
 
 
 
 

Strait of Juan de Fuca


36 x 36 inches
oil on canvas
2010

Sold.

 
 
 
 
 
 

Strait of Juan de Fuca


48 x 36 inches
oil on canvas
2010

Sold.

 
 
 
 
 
 

Siwash


48 x 36 inches
oil on canvas
2010

On view at Culture Agency, Atlanta.

 
 
 
 
 
 

Alara Kalesi


36 x 36 inches
oil on canvas
2010

On view at Culture Agency, Atlanta.

 
 
 
 
 
 

2500 Miles From Home


36 x 36 inches
oil on canvas
2010

Donated to the 2010 Artists Against AIDS Charity Auction.

 
 
 
 
 
 

Cluster of Trees


60 x 36 inches
oil on canvas
2010

Sold.

 
 
 
 
 
 

Cape Lookout N°6


36 x 24 inches
oil on canvas
2010

On view at Culture Agency, Atlanta.

 
 
 
 
 
 

The Journey


60 x 36 inches
oil on canvas
2010

Commissioned by Texas Christian University,
Fort Worth.

 
 
 
 
 
 

Cape Lookout N°5


16 x 12 inches
oil on canvas
2010

Sold.

 
 
 
 
 
 

Nail N°1


16 x 12 inches
oil on canvas
2010

Sold.

 
 
 
 
 
 

Nail N°2


16 x 12 inches
oil on canvas
2010

Sold.

 
 
 
 
 
 

Nail N°3


16 x 12 inches
oil on canvas
2010.

Sold.

 
 
 
 
 
 

Palo Pinto Lake


48 x 36 inches
oil on canvas
2009

Commissioned work.

 
 
 
 
 
 

Sun


24 x 24 inches
oil on aluminum
2009

 
 
 
 
 
 

Teddy


16 x 8 inches
oil on aluminum
2009

A gift.

 
 
 
 
 
 

Cape Lookout N°4


16 x 8 inches
oil on aluminum
2009

Sold.

 
 
 
 
 
 

Orchids N°2


60 x 36 inches
oil on canvas
2009

Sold.

 
 
 
 
 
 

Orchids N°1


60 x 36 inches
oil on canvas
2009

 
 
 
 
 
 

Cape Lookout N°3


48 x 36 inches
oil on canvas
2009

Sold.

 
 
 
 
 
 

Cape Lookout N°2


48 x 36 inches
oil on canvas
2009

Sold.

 
 
 
 
 
 

Tim's Magnolias


48 x 60 inches
oil on canvas
2008

Commissioned by Magnolia Avenue Salon, Fort Worth.

 
 
 
 
 
 

Cape Lookout N°1


36 x 24 inches
oil on canvas
2008

Sold.

 
 
 
 
 
 

Kilauea


60 x 48 inches
oil on canvas
2008

Sold.

 
 
 
 
 
 

Czech Republic


48 x 24 inches
oil on canvas
2007

Sold.

 
 
 
 
 
 

Fort Worth N°1


16 x 12 inches
oil on canvas
2007

Sold.

 
 
 
 
 
 

Fort Worth N°2


16 x 12 inches
oil on canvas
2007

Sold.

 
 
 
 
 
 

Fort Worth N°3


16 x 12 inches
oil on canvas
2007

Sold.

 
 
 
 
 
 

Mallorca


60 x 36 inches
oil on canvas
2007

On view at Culture Agency, Atlanta.

 
 
 
 
 
 

Northern California


18 x 14 inches
oil on canvas
2007

Sold.

 
 
 
 
 
 

Untitled (Fog and Sky)


18 x 18 inches
oil on canvas
2007

Sold.

 
 
 
 
 
 

North Carolina


40 x 30 inches
oil on canvas
2007

Sold.

 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
For me the painting of landscapes, this kind of subject in this way, was a major growing-period. Most of what I had been working on up until this point shared a visual sensibility, and here was a chance to do something completely new. I knew I wanted to incorporate landscape paintings into my body of work, even though it seemed stylistically to me to be a huge leap. I started by plotting out what visual language was needed to best depict what I wanted to do with landscapes. There were some cues from art history that were a factor, and some things from experiencing Nature firsthand; Inspiration comes to us in many ways.  
 
 

 
 
 
 
 
 
 
 
 

Peace Rose


40 x 33 inches
oil on canvas
2008

Commissioned Work.

 
 
 
 
 
 

Mudra


40 x 30 inches
oil on canvas
2008

 
 
 
 
 
 

Red Carnations N°1


48 x 24 inches
oil on canvas
2007

 
 
 
 
 
 

Red Carnations N°3


48 x 24 inches
oil on canvas
2007

 
 
 
 
 
 

Red Carnations N°4


48 x 24 inches
oil on canvas
2007

Donated to Black Tie Dinner to help support the Human Rights Campaign.

 
 
 
 
 
 

Red Tulips N°1


48 x 36 inches
oil on canvas
2007

Sold.

 
 
 
 
 
 

Red Tulips N°2


48 x 36 inches
oil on canvas
2007

Sold.

 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
“Eric Stevens's land and seascapes seem to trail grace, mirroring inner states of quietude and revelation. His White Gladiolas are so very finely observed and rendered. To paraphrase Banville, they blush beneath the intensity of your gaze and give up their secrets. I'm happy to return again to his work and admire the sanctity of the natural world suffusing everything truly seen.”  
 
- Yahia Lababidi, Poet  
 
 

 
 
 
 
 
 
 
 
 

White Gladiolas N°15


12 x 6 inches
oil on panel
2006

Sold.

 
 
 
 
 
 

White Gladiolas N°12


12 x 6 inches
oil on panel
2006

Sold.

 
 
 
 
 
 

White Gladiolas N°10


24 x 12 inches
oil on panel
2006

Sold.

 
 
 
 
 
 

White Gladiolas N°8


48 x 24 inches
oil on panel
2006

Sold.

 
 
 
 
 
 

White Gladiolas N°7


12 x 6 inches
oil on panel
2006

Sold.

 
 
 
 
 
 

White Gladiolas N°6


24 x 12 inches
oil on panel
2006

Donated to The Artists Against AIDS Charity Auction.

 
 
 
 
 
 

White Gladiolas N°5


24 x 12 inches
oil on panel
2006

Sold.

 
 
 
 
 
 

White Gladiolas N°3


48 x 24 inches
oil on panel
2006

Sold.

 
 
 
 
 
 

White Gladiolas N°1


24 x 12 inches
oil on panel
2006

Sold.

 
 
 
 
 
 

Gladiolas N°2


36 x 24 inches
oil on panel
2006

Sold.

 
 
 
 
 
 

Hand of Christ


75 x 35 inches
oil on canvas
2004

 
 
 
 
 
 

White Flower


32 x 24 inches
oil on canvas
2004

 
 
 
 
 
 

Urchin


32 x 24 inches
oil on canvas
2004

Sold.

 
 
 
 
 
 

Gladiolas


39 x 78 inches
oil on canvas
2003

Sold.

 
 
 
 
 
 

Magnolia


28 x 20 inches
oil on canvas
2003

Commissioned Work.

 
 
 
 
 
 

Magnolia


28 x 20 inches
oil on canvas
2003

Commissioned Work.

 
 
 
 
 
 

Carnation


28 x 24 inches
oil on canvas
2003

Sold.

 
 
 
 
 
 

Orange Lilies


24 x 18 inches
oil on canvas
2003

Sold.

 
 
 
 
 
 

Orange Lilies


24 x 18 inches
oil on canvas
2003

Sold.

 
 
 
 
 
 

Orange Lilies


24 x 18 inches
oil on canvas
2003

Sold.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
I am interested in the relationships between complex detail and simple composition, classical rendering of form and modern reduction. I think there is an interesting tension there.”  
 
“A lot of my work describes simple organic forms, like flowers. These paintings often use vibrant true-to-life color to depict the subjects, while their settings take the subjects out of their expected contexts. The perspective and scale furthers this, isolating the subject, and bringing the viewer closer.  
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 

Old Man's Eyes


48 x 24 inches
acrylic on panel
1999

Sold.

 
 
 
 
 
 

Clown


24 x 48 inches
acrylic on panel
1999

 
 
 
 
 
 

Genesis


24 x 12 inches
Acrylic/mixed media on panel
1997

Stolen.

 
 
 
 

 
 
 
 

News & Events


Ongoing Exhibit at Culture Agency

 
 
 
 

In a long-running partnership with Atlanta brand agency Culture, twenty-two of Eric Stevens's oil paintings are on display in their offices at the Telephone Factory lofts in Midtown Atlanta. On display are a number of Stevens’s landscapes, several pieces from the anthropologically-inspired Golden Age of Man cycle, and the entire VIRTUE series of paintings which Stevens co-created with noted poet, writer and semiotician Oliver Perrin.

“Culture's global experiences with anthropology, semiotics, and ethnography make this a very interesting venue to show my work. I think the paintings look great here, especially the VIRTUE series. It makes perfect sense to show them at Culture,” said Stevens.

The Exhibit is ongoing.


Culture Agency
828 Ralph McGill Boulevard
Suite W-5
Atlanta, Georgia 30306
culture-agency.com  
 
 
 
 
 

Nathan Madrid and Eric Stevens

 
Chadra Mezza and Grill
Tuesday, January 10th
6 -8 PM

Join us Tuesday, January 10th at Chadra Mezza and Grill, one of Fort Worth's most-loved restaurants. Complementary light Mediterranean hors d'oeuvres will be served, with a cash bar. The restaurant will be open for dinner.

Nathan Madrid - "My work is representational of the everyday objects we encounter; the figure, a sink, or a tall building that can be transposed to the viewer. The paintings are measured by the emotion and conversation it leaves with the viewers inviting them back to discover more. The technical aspect of my work is a growing process, continually gaining knowledge of my environment. Seeking to expand, I draw from old masters and current figure painters that have inspired me to document the realistic nature of my subject. Continually refining the process, learning, and allowing the painting to open the dialogue with the viewer."

Eric Stevens - “I am interested in the relationships between complex detail and simple composition, classical rendering of form and modern reduction. I think there is an interesting tension there. A lot of my work describes simple organic forms, like flowers. These paintings often use vibrant true-to-life color to depict the subjects, while their settings take the subjects out of their expected contexts. The perspective and scale furthers this, isolating the subject, and bringing the viewer closer.”


The Artwork of Nathan Madrid and Eric Stevens
Tuesday, January 10th, 2012
6 -8 PM

Chadra Mezza and Grill
1622 Park Place Ave.
Fort Worth, TX 76110
817 926 3992

chadramezza.com

nathanmadrid.com  
 
 
 
 
 

CONTEM?ORARIES: A Survey of 21st Century American Artists


July 14 to October 14, 2011
Reception for the Artists
July 14, 6 - 8pm

The Fort Worth Central Library
500 W. Third St.
Fort Worth, TX 76102-7305
817 392 7701

We live in an Age that is unparalleled. Our understanding of history, and what has come before, is enormous. This becomes clear when we look at Contemporary Art.

We have been painting and drawing for thousands of years. These were the methods of the cavemen, and they are still used by artists today. At some point, artists discovered that the use of a preliminary “sketch” drawing could help perfect form and composition in their paintings. This shows the very beginnings of how different artistic techniques inform each other. A more modern example is Photography, which is much younger, and has since its birth been influenced by painting. Today this kind of confluence works in all directions; and can be seen throughout the Art World: Artists using the oldest techniques, things like painting and drawing, being influenced and inspired by the newest disciplines like Photography and Cinema. We have artists inspired by Mathematics and Literature, drawing things that exist only in the imagination. We have photographers capturing the magic of the overlooked and the everyday. And of course we have artists who are inspired by the Age itself.

Daniel Blagg, Pat Gabriel, Jane Hansen, Sam Ivie, Jill Johnson, Bruce Jordan, Nancy Lamb, Leslie Lanzotti, James Lassen, Nathan Madrid, Daniel Scott, Eric Stevens, Justine Stevens, Clint Stone, and Elaine Taylor were chosen for the CONTEM?ORARIES Show because of the breadth of techniques and influences their Works represent, and for the interesting juxtapositions to be found bringing them together.

Contemporary Art sets no limits upon itself, but rather learns from its varied incarnations. Just as Artists use any of the tools at their disposal, and influence each other with what they create, in their pursuit of Beauty.


View full Catalog›  
 
 
 
 
 

VIRTUE Show article at SIGNUM International Society For Mark Studies

 

“Perrin and Stevens worked together to create an integrated set of painted memory images, insignia and text-based exegesis with the ambitious goal of capturing the fundamental cultural elements of all societies that attach deep significance to the figure of horse and rider.”

Signum is an international society established to advance the study of human mark use and to support scholars and other specialists focusing on mark studies as a distinct field of inquiry.

VIRTUE: Chivalry as a Memory Tradition
By Eric Stevens & Oliver Perrin

Artspace111
111 Hampton Street
Fort Worth, Texas 76102
www.artspace111.com
817.692.3228

Exhibition will be on display through June 1, 2011  
 
The paintings by themselves can be seen here>

 
 
 
 
 

VIRTUE Preview Document Available

 

VIRTUE: Chivalry as a Memory Tradition
By Eric Stevens & Oliver Perrin

For those of you who have not made it to Artspace111 yet to see “VIRTUE: Chivalry as a Memory Tradition”, or who are interested in further contemplation of the show, a pdf preview is now available online. This file includes all thirteen paintings, and the explanatory text that accompanies them: Chivalry_Preview.pdf

The paintings by themselves can be seen here:
http://ericstevensart.com

 
 
 
 
 

Reception for VIRTUE: Chivalry as a Memory Tradition

 

Opening Reception Thursday, April 21, 5 - 8 pm

The metaphor of the horse and rider is a central cognitive device. In Spanish we have caballo “horse” and caballero “gentleman”. In Portugese cavalo “horse” and cavaleiro/cavalheiro “horseman, gentleman”. In French, cheval “horse” and chevalier “gentleman” or “knight”. In German reiten “to ride” and Ritter “knight, gentleman”. In English “cavalry” and “chivalry”.

Clearly, the horseman is a very old and important symbol of individual empowerment. In many cultures to ride is to be distinguished and elevated. The signs associated with horse culture comprise a ‘book’ of Chivalry.

Chivalry is expressed here as a memory tradition, in which a given set of objects (literally “material culture”) encodes constellated meaning and knowledge. The associated images, signs and text we present are intended to foster awareness of a whole greater than the sum of its parts, a gestalt view of how deep cultural archetypes sometimes operate continuously, regardless of whether we happen to be aware of it. They are also intended to stimulate the viewer to consider the richness and continuing applicability of these cultural archetypes as a consciously understood heritage – one that lays bare the nature of the social forces in operation around us, regardless of what it may be fashionable to call them today.

Exhibition will be on display through June 1, 2011

Artspace111
111 Hampton Street
Fort Worth, Texas 76102
www.artspace111.com
817.692.3228  
 
 
 
 
 

Places Remembered, Things Forgotten

 

FWCAC and Clifton Capital Partners presents:
Places Remembered, Things Forgotten by Eric Stevens

December 10, 2010 - February 18, 2011

Reception for the Artist Friday, December 10, 2010 6:00 - 9:00 PM

Open Monday through Friday 9:00 - 5:00
Call 817-738-1938 or visit for more information.

The Gallery at Clifton Capital Building
5201 Camp Bowie Blvd.
Fort Worth, Texas 76107

CliftonCapital.com
FWCAC.org

 
 
 
 
 

Gallery Night is Saturday September 11th, 2010

 

Artspace111
Saturday, September Eleventh, 2010
Gallery Night
2-9pm

111 Hampton Street
Fort Worth, TX 76102
817-692-3228

 
 
 
 
 

Preservation is the Art of the City Art Show & Sale

 

Historic Fort Worth, Inc. invites you to Celebrate with the Artists
Spirits • Appetizers • Advance Sales

THURSDAY, SEPTEMBER 9, 2010
Opening presentation at 6:30

Shopping begins immediately following the presentation
Festivities continue until 9:30

The Fort Worth Community Arts Center
1300 Gendy Street in the Cultural District
Complimentary Valet Parking

The show is open to the public at the Fort Worth Community Arts Center(www.fwcac.org) during regular hours from September 10 – 25. On Gallery Night, September 11, the show will be open from 5-9pm, and serving beer thanks to the wonderful Rahr & Sons Brewing Co.

Questions? Please call Corry Smith at (817) 336-2344 x100 or email at corry_smith@historicfortworth.org

Historic Fort Worth, Inc.
817.336.2344 x112
www.historicfortworth.org

 
 
 
 
 

Art & Interview with Eric Stevens in the Fall 2010 issue of Poet & Artists

 

Art & interview with Eric Stevens in the latest issue of Poet and Artists Magazine. Buy it or read it online here:

 
 
 
 
 

Wally Workman Gallery 30th Anniversary Show

 

August 7 - September 4, 2010

Wally Workman Gallery is 30! Opening Reception Saturday, August 7th 6-8pm. Starting in only two small rooms within a 100 year old historic home on West Sixth Street, the gallery has gradually expanded to occupy the whole house. Workman garners an impressive roster of 50 artists who work in diverse mediums and subject matter. Always evolving, this includes artists that have been with the gallery for decades as well as those that were just signed this year. The anniversary show will include works by all their artists; old and new, figurative and abstract, small and large, and everything in between.

Wally Workman Gallery
1202 West 6th Street
Austin, Texas 78703
512.472.7428
Gallery Hours: Tuesday - Saturday 10am-5pm.

 
 
 
 
 

Contemporary Realism Show in Oklahoma City

 
Contemporary Realism is a new Exhibition featuring the work of Tracey Harris, Eric Stevens, Leslie Lienau, and James Smith.

Opens Friday, July 2, 6 P.M. - 10 P.M., 2010

OKLAHOMA CITY, Oklahoma --The July exhibit at JRB Art at The Elms will showcase the work of four artists who specialize in contemporary representational painting. The body of work that Tracey Harris has prepared for this show is primarily figurative, while Eric Stevens has painted a series of landscapes. Leslie Lineau and James Smith will be exhibiting still life paintings. While the subject matter and styles of these artists are different, all the work produced by the four artists closely resembles forms and subjects that can be found in the natural world. In contrast, the sculptural work of Harolyn Long that will be shown in the Ship Gallery is abstract in nature. The exhibit will open with a public reception on July 2, 2010, from 6:00 to 10:00 p.m. at JRB Art at The Elms during the monthly Gallery Walk in Oklahoma City's Paseo Arts District. The show will run through July 30, 2010.

JRB Art at The Elms
In The Historic Paseo Arts District
2810 North Walker
Oklahoma City, Oklahoma 73103
405.528.6336
Gallery Hours: Mon-Sat 10-6, Sun 1-5.

 
 
 
 
 

“The Journey” Commission for TCU

 

My most recent commissioned work is “The Journey”. I was contacted by Texas Christian University via Margery Grella at Artspace111. The folks at TCU were looking for a signature piece for the entryway of their newly-built Honors College.

The piece is 60” x 36”, oil on canvas. Developing the concept and painting the piece was intense. For me, "The Journey" suggests Time, and our passage through it. Our perception of our own future is obscured by our limited perspective, but it is not entirely unknown to us. There are choices we can make with known probable outcomes, and we illuminate more of these as we go. "The Journey" is Life, and the wonders it contains, and remembering to enjoy each moment.

 
 
 
 
 

Stained Glass Window at Westside UU Church

 

I recently helped design a stained glass window for Westside Unitarian Universalist Church in Fort Worth. This fantastic project became a reality though the combined Creative efforts of Master glass Artist John Kebrle , Carl Romano, and myself. The window was installed February 26 2010, and is five feet across. There will be a Dedication ceremony later this month, please contact Westside UU for more details.

DEVELOPING THE DESIGN
The Unitarian Universalists are a great bunch: They are kind of secular and philosophic with a focus on altruism, and are influenced by a lot of very different spiritual traditions. However, there's not a ton of symbolism and imagery that is uniquely "UU" with which to play. I had recently started a painting that prominently featured a singular tree, and designed a big Tree tattoo for a friend of mine, so the Axis Mundi, Tree of Life, and Yggdrasil concepts were fresh and prominent in my mind. The symbol of the Tree is nearly universal, and appears in all the major religions of the world. It can represent nature, reality and rationality. It can represent the World itself, while simultaneously aspiring skyward, and suggesting the connection to the spiritual. And of course it can symbolize Life. The ring/circle in the middle is something I came up with, meant to suggest inclusion and community, and also the cycles of sustainability. The Flaming Chalice in the foreground is the traditional UU symbol; Its inclusion identifies this Church, and embodies its traditions.

John Kebrle's aesthetic and visual style is amazing; strong forms, primary colors, yet fluid, and full of poetic subtlety. See more of his beautiful work at JohnKebrleStainedGlass.com.

If you would like to see this window in person, Westside UU Church is at 901 Page Avenue in Fort Worth. More information at WestsideUU.org.

 
 
 
 
 

Eric Stevens at Wally Workman Gallery in Austin

 

I am proud to announce a new Gallery relationship: I am now represented by Wally Workman Gallery in Austin.

Established in 1980 and located in a 100 year old historic house in Austin’s art district, the Wally Workman Gallery has two stories of exhibition space where one can view the works of the rich and varied selection of artists currently represented. The Art here covers the spectrum; Conceptual, Contemporary, Modern, and Traditional, in forms ranging from sculpture to painting. The works shown are very diverse, yet their caliber and level of execution are impressive, and consistent.

This new partnership is in addition to my continuing representation with Artspace111 in Fort Worth, and Dean Day Gallery in Houston.

Wally Workman Gallery
1202 West 6th Street
Austin, Texas 78703
512 472 7428

 
 
 
 
 

Eric Stevens Called “Artist to Watch” In American Art Collector

 

From American Art Collector , September 2009:

“The overall strength of the art market seems to be sustaining itself. Regardless of the current economic situation, art is still selling. Our clientele includes private collectors and corporations. Most of the artists we represent work with oil on canvas. Our landscape paintings seem to be in high demand. We have a couple of artists that do portraits and those seem to be popular commission pieces as well. Landscape painter Dennis Blagg's pencil drawings of his larger pieces sell well. Nancy Lamb's aerial portraits of people in action have also proven popular. Painter Eric K. Stevens and sculptor J.C. Pace III are both artists to watch.

—Margery Grella, Director, Artspace111.

 
 

 
 
 
 

Information


 

Contact Information



For inquiries, to request a pricelist, or to be notified of future events and exhibitions, Eric Stevens can be reached at mail@EricKStevens.com or at 404 277 5575.


View Eric Stevens's profile on LinkedIn

Visit me on Facebook



 
 
 
 
 

Bio & Curriculum Vitae


 
1970 BORN IN HONOLULU, HAWAII. CURRENTLY LIVES & WORKS IN ATLANTA, GEORGIA.  
 

Eric K. Stevens spent his formative years in Hawaii, where the natural beauty of the islands had a sublime and profound influence that he still feels today. After a career in graphic design and illustration, he turned his attention entirely to painting while living in Prague from 2002 to 2005. This was a significant time, allowing him to pursue his passion completely and gain invaluable exposure to the arts landscape of many different cultures while traveling throughout Europe. His works can be found in private and corporate collections nationally and internationally.

 

“I am interested in the relationships between complex detail and simple composition, classical rendering of form and modern reduction. I think there is an interesting tension there.”

“A lot of my work describes simple organic forms, like flowers. These paintings often use vibrant true-to-life color to depict the subjects, while their settings take the subjects out of their expected contexts. The perspective and scale furthers this, isolating the subject, and bringing the viewer closer.”

“My current works include a series of landscapes. These are executed with a distanced perspective, a cool and subdued palette, and a sense of emptiness. The specific geographic locations chosen as subjects for these range from the American Southwest to Central Europe to Mediterranean islands, but are almost incidental in the finished product. The idea of capturing some of these locations in this way had been banging around in my head for a while, but it was reading Cormac McCarthy's novel The Road and Umberto Eco's Mysterious Flame of Queen Loana that was a prime incentive for me realizing this series of paintings.”

“For me the painting of landscapes, this kind of subject in this way, was a major growing-period. Most of what I had been working on up until this point shared a visual sensibility, and here was a chance to do something completely new. I knew I wanted to incorporate landscape paintings into my body of work, even though it seemed stylistically to me to be a huge leap. I started by plotting out what visual language was needed to best depict what I wanted to do with landscapes. There were some cues from art history that were a factor, and some things from experiencing Nature firsthand; Inspiration comes to us in many ways. ”

“Developing another set of visual rules to work with is almost like using another language, with it's own strengths and weaknesses, it's own character.”

“Each painting, or series of paintings, has to obey a set of rules, like a formula. I'll come up with a subject, and also determine the best formula for executing the piece. Things like pallete, the use of reference images, compositioning, visual factors, canvas size and shape, length of time used for completion; all these things can be effected. For me it's part of the creative process. How I paint is just as important to me as what I paint. A formula must be decided upon for the subject at hand. You can see the shifting of formulae between the different subjects I paint: I paint landscapes very differently than florals, for example. Sometimes inspiration for the formula I will use comes from a piece of artwork, something that has nothing to do with what I intend to do, and usually it's not a painting. Other times it is more conceptual, a feeling, or an atmospheric thing like the air and the lighting. All these things help set up the rules that control the process. ”


"Eric Stevens's land and seascapes seem to trail grace, mirroring inner states of quietude and revelation. His White Gladiolas are so very finely observed and rendered. To paraphrase Banville, they blush beneath the intensity of your gaze and give up their secrets. I'm happy to return again to his work and admire the sanctity of the natural world suffusing everything truly seen."

- Yahia Lababidi, Poet  
 
 
 
 

Selected Exhibitions



Ongoing


Permanent exhibit at Culture Agency, Atlanta.


2011


VIRTUE solo exhibition at ArtSpace111.

Curating & appearing in CONTEM?ORARIES at Fort Worth Central Library, Fort Worth.


2010


Places Remembered, Things Forgotten solo exhibition at Clifton Capital Investments, Fort Worth.
Featured Artist, Fifteenth Annual Artists Against AIDS Benefit Auction.

Preservation is the Art of the City juried exhibition benefiting Historic Fort Worth Inc.

30th Anniversary Show at Wally Workman Gallery in Austin.

HARRIS, SMITH, LIENAU, STEVENS, LONG at JRB Art at The Elms in Oklahoma City.

A Grand Affair group show at Wally Workman Gallery in Austin.


2009


Summer Show group show at ArtSpace111 Gallery in Fort Worth.

D Art Slam juried art show in Dallas.

The American Landscape: Urban/Rural group show at ArtSpace111 Gallery in Fort Worth.

Dallas Art Fair represented by Artspace111.


2008


WORTHwhile group show at ArtSpace111 Gallery in Fort Worth.

Solo exhibition at the Petroleum Club of Fort Worth.


2007


Small Works group show at JRB Gallery, Oklahoma City.

Landscapes solo exhibition at Fort Worth Community Arts Center.

TAC Juried Membership Show at Fort Worth Community Arts Center, juried by Ed & Linda Blackburn.

Solo exhibition at Heliotrope Gallery, Fort Worth.

SUPER REALISM: Oil Paintings by Morgan Craig and Eric K Stevens
at City Arts Center, Oklahoma City, curated by Clint Stone.

Flowers In Memory Solo exhibition at Fort Worth Community Arts Center.


2006


Camille Engel & Eric K Stevens at Dean Day Gallery, Houston.

Advisory Panel Selects: juried exhibition at Fort Worth Community Arts Center, selected by Sculptor Michael Pavlovsky.

TAC Juried Membership Show at Fort Worth Community Arts Center. juried by Dr. Frances Colpitt.

25th Annual Open Show. 500X Gallery, Dallas.

Spring Gallery Night: Choices from the Biennial at Fort Worth Community Arts Center.

Biennial Show, Fort Worth Community Arts Center.

13th Annual Invitational at Eleanor Kirkpatrick Gallery, City Arts Center, Oklahoma City, curated by Clint Stone.

Solo exhibition. Coffeehouse Gallery, Fort Worth.

 
 
 
 
 

Gallery Representations


 

Artspace111
111 Hampton Street
Fort Worth, Texas 76102
817 692 3228
2008 - 2012

Dean Day Gallery
2639 Colquitt
Houston, Texas 77098
713 520 1021
2007 - 2012

Wally Workman Gallery
1202 West 6th Street
Austin, Texas 78703
512 472 7428
2008 - 2011

 
 
 
 
 

Organizations


 

Eric has been a member of the Exhibition Advisory Panel of the Fort Worth Community Arts Center.

Eric has been a member of the Texas Artists Coalition.

Eric has been a member of the International Guild of Realism which is dedicated to the advancement of Realism in Contemporary Fine Art.

 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 

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