LIAM STEVENS

In Eventide, the abstract paintings of Liam Stevens explore the exchange of form, modulation, time, and colour. Expanding upon his ongoing investigation into the materiality of painting, Stevens also presents a new body of works on jute, to be exhibited for the first time.

His process involves meticulous layering and the use of iterative rectilinear forms, which oscillate between the organic and the architectural. Through rhythmic applications of colour and texture on raw jute and linen, he creates a visual cadence —a flowing sequence where each painting embodies movement and continuity, echoing the repetitive yet unique formations found in nature -like the ebbing waves of the ocean or the structured growth of leaves on a tree.

This exploration also touches on fractal geometry. In the Drift series, the use of panels within each piece acts as both a sequential “frame” of time and a continuation of the repeated forms within each painting, conceptually mirroring the complex patterns generated by the repetition of simple shapes reflected in the self-similar structures found in the natural world.

Rather than relying on mimetic representation, Stevens meditates on the underlying structures that connect all things. His studio practice sometimes involves computer-based sketching, resulting in visuals that parallel early forms of computer programming, such as the alphanumeric Hollerith code. These visual links to computer programming also evoke early human visual perception, recalling how the brain “programs” the eyes for complex visual stimulation even in the womb. It’s believed that our earliest images are forms of light perception, perhaps “static” or patterns of light and dark, as the brain begins to process visual stimuli. The pixel-like repetition or static in Stevens’ work accentuates this shared visual language between nature and human design. __

A key inspiration for this body of work comes from Stevens’ poetic reflections on the passage of time and the natural world. Themes of transition, the subtle interplay of light and shadow, and the cyclical nature of time are central to his artistic exploration. Most of these works were painted during the seasonal transitions from late summer to early winter, as the days grew shorter and the evening light in the studio changed incrementally. The archaic word “eventide” evokes the gentle yet persistent movement of time and shifting light, while also recalling an impression of water-like undulation, mirroring the rhythms found in his painting.

Stevens’ works invite viewers to contemplate the unseen forces that shape our world. They are an exploration of how abstract forms can distil the principles of life around us, illustrating the repetition and interconnectedness that permeate both natural and constructed spaces. This exhibition is not about presenting a fixed image or moment, but about engaging with an ongoing process of observation and understanding—composed through drifting apertures of thought and reflection.