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From Vernon Terrace: Stephanie Eather

Past exhibition
February 7 - 24, 2024 GALLERY TWO
  • Essay
  • Works
  • Installs
  • Eather draws a poignant analogy between her therapeutic quest for personal history, and the ever-unfolding artist's journey; asserting that the compatible medium is the compass guiding profound self-discovery.
  • Anthea Mentzalis 
    February, 2024

    In the sun-scorched vastness of Stephanie Eather's creative terrain, the shearing shed becomes a cathedral of toil. Here, time is frozen. The rhythmic hum of clippers and the coarse symphony of livestock merge with the harsh whisper of the Australian bush. The landscape, both stoic witness and stern taskmaster, echoes with the ancient tales of resilience and struggle. Gnarled and defiant, it bears witness to the relentless embrace of both drought and plenty.

     

    Eather's tools, an extension of her hands, move with a grit and determination we have never witnessed so acutely. Evocative, she takes us beyond the acrid tang of sweat-soaked wool—embarking on a compelling exploration of her ancestral tapestry. She transcends the confines of traditional studio introspection. Departing from the conventional, she strives to understand and breathe life into her family's history. The kinetic strength of her observational drawing practice unfolds in landscapes resonant with the echoes of her forebears. Here, Eather seeks not just to document, but to touch and comprehend the essence of her lineage.

     

    As Krauss aptly notes, "if you can remember 'who' you are, you have the necessary associative scaffold to teach yourself to remember anything." Eather draws a poignant analogy between her therapeutic quest for personal history, and the ever-unfolding artist's journey; asserting that the compatible medium is the compass guiding profound self-discovery. For Eather, drawing is how she breathes life into her sense of self, weaving a narrative that intertwines meaningful places, people, and experiences.

     

    A significant aspect of Eather's process is the meticulous ritual of preparing her materials. It is a laborious, yet essential step in intertwining the medium, body, and place. Her latest engagement with gouache becomes a vessel—tactile textures and vibrant colours are drawn from a multitude of experiences. The collision of hues mirror the overwhelming experience of revisiting past landscapes; a vivid reconnection with her own history. Eather plays with the malleability of memory, a dance between form and texture. This departure from traditional drawing methods results in a profound aesthetic experience, where memory and medium converge.

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    The resulting marks on canvas are not mere images; they are the traces of her body's communion with practice, a testament to the physicality of the artist in relation to the object. This meditative exploration of specific visual memories unexpectedly unveils layers of her past in short sittings. This raw authenticity, unfettered by premeditated designs, becomes a gateway to unexpected images and emotional landscapes. It is a testament to Eather's fearlessness, anchored in the symbiosis of physical presence and her reimagined world.

     

    Through her intimate connection with the Australian countryside, Eather revisits the memory of fourteen different stations across Yorta Yorta and Wiradyuri country. She connects with her family; exploring the experiences of her father and grandmother. The process becomes a journey into the past, contemplating the impact of life choices on her present self.

     

    Her paintings stand as a contemporary chapter in the rich tradition of Australian art. In the spirit of iconic depictions by artists like Tom Roberts and Joan Snyder, Eather's canvas seems to breathe on its own, as if a living thing. Here, the tangible and intangible become one.

  • Works
    • Stephanie Eather A room of skin and fluros, 2023 Oil on polycotton, framed 77 x 61cm
      Stephanie Eather
      A room of skin and fluros, 2023
      Oil on polycotton, framed
      77 x 61cm
      Sold
    • Stephanie Eather Dusk from the Steam plains quarters, 2023 Oil on polycotton, framed 77 x 61cm
      Stephanie Eather
      Dusk from the Steam plains quarters, 2023
      Oil on polycotton, framed
      77 x 61cm
      Sold
    • Stephanie Eather Fabriano from cardboard and a fold out table on the straight, 2024 Oil on board, framed 44 x 60cm
      Stephanie Eather
      Fabriano from cardboard and a fold out table on the straight, 2024
      Oil on board, framed
      44 x 60cm
      Sold
    • Stephanie Eather From a Getz to a Hilux over the soil on the Hay plains, 2023 Oil on polycotton, framed 61 x 77cm
      Stephanie Eather
      From a Getz to a Hilux over the soil on the Hay plains, 2023
      Oil on polycotton, framed
      61 x 77cm
      Enquire
      %3Cdiv%20class%3D%22artist%22%3EStephanie%20Eather%3C/div%3E%3Cdiv%20class%3D%22title_and_year%22%3E%3Cspan%20class%3D%22title_and_year_title%22%3EFrom%20a%20Getz%20to%20a%20Hilux%20over%20the%20soil%20on%20the%20Hay%20plains%3C/span%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3Cspan%20class%3D%22title_and_year_year%22%3E2023%3C/span%3E%3C/div%3E%3Cdiv%20class%3D%22medium%22%3EOil%20on%20polycotton%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3Eframed%3C/div%3E%3Cdiv%20class%3D%22dimensions%22%3E61%20x%2077cm%3C/div%3E
    • Stephanie Eather It felt like I was staring at a Bacon painting, 2023 Oil on polycotton, framed 61 x 61cm
      Stephanie Eather
      It felt like I was staring at a Bacon painting, 2023
      Oil on polycotton, framed
      61 x 61cm
      Enquire
      %3Cdiv%20class%3D%22artist%22%3EStephanie%20Eather%3C/div%3E%3Cdiv%20class%3D%22title_and_year%22%3E%3Cspan%20class%3D%22title_and_year_title%22%3EIt%20felt%20like%20I%20was%20staring%20at%20a%20Bacon%20painting%3C/span%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3Cspan%20class%3D%22title_and_year_year%22%3E2023%3C/span%3E%3C/div%3E%3Cdiv%20class%3D%22medium%22%3EOil%20on%20polycotton%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3Eframed%3C/div%3E%3Cdiv%20class%3D%22dimensions%22%3E61%20x%2061cm%3C/div%3E
    • Stephanie Eather Knock off bargain Lord Nelsons on the sawtooth, 2024 Oil on board, framed 70 x 50cm
      Stephanie Eather
      Knock off bargain Lord Nelsons on the sawtooth, 2024
      Oil on board, framed
      70 x 50cm
      Sold
    • Stephanie Eather Packing the Ranger to head to Toganmain, 2023 Oil on polycotton, framed 77 x 61cm
      Stephanie Eather
      Packing the Ranger to head to Toganmain, 2023
      Oil on polycotton, framed
      77 x 61cm
      Enquire
      %3Cdiv%20class%3D%22artist%22%3EStephanie%20Eather%3C/div%3E%3Cdiv%20class%3D%22title_and_year%22%3E%3Cspan%20class%3D%22title_and_year_title%22%3EPacking%20the%20Ranger%20to%20head%20to%20Toganmain%3C/span%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3Cspan%20class%3D%22title_and_year_year%22%3E2023%3C/span%3E%3C/div%3E%3Cdiv%20class%3D%22medium%22%3EOil%20on%20polycotton%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3Eframed%3C/div%3E%3Cdiv%20class%3D%22dimensions%22%3E77%20x%2061cm%3C/div%3E
    • Stephanie Eather Reverse park it next to the tool shed underneath the powerline, 2024 Oil on polycotton, framed 61 x 61cm
      Stephanie Eather
      Reverse park it next to the tool shed underneath the powerline, 2024
      Oil on polycotton, framed
      61 x 61cm
      Enquire
      %3Cdiv%20class%3D%22artist%22%3EStephanie%20Eather%3C/div%3E%3Cdiv%20class%3D%22title_and_year%22%3E%3Cspan%20class%3D%22title_and_year_title%22%3EReverse%20park%20it%20next%20to%20the%20tool%20shed%20underneath%20the%20powerline%3C/span%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3Cspan%20class%3D%22title_and_year_year%22%3E2024%3C/span%3E%3C/div%3E%3Cdiv%20class%3D%22medium%22%3EOil%20on%20polycotton%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3Eframed%3C/div%3E%3Cdiv%20class%3D%22dimensions%22%3E61%20x%2061cm%3C/div%3E
    • Stephanie Eather Solid gold grains and pulling the three metre timber pew in front of the campfire, 2023-24 Oil on polycotton, framed 104 x 206.5cm
      Stephanie Eather
      Solid gold grains and pulling the three metre timber pew in front of the campfire, 2023-24
      Oil on polycotton, framed
      104 x 206.5cm
      Enquire
      %3Cdiv%20class%3D%22artist%22%3EStephanie%20Eather%3C/div%3E%3Cdiv%20class%3D%22title_and_year%22%3E%3Cspan%20class%3D%22title_and_year_title%22%3ESolid%20gold%20grains%20and%20pulling%20the%20three%20metre%20timber%20pew%20in%20front%20of%20the%20campfire%3C/span%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3Cspan%20class%3D%22title_and_year_year%22%3E2023-24%3C/span%3E%3C/div%3E%3Cdiv%20class%3D%22medium%22%3EOil%20on%20polycotton%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3Eframed%3C/div%3E%3Cdiv%20class%3D%22dimensions%22%3E104%20x%20206.5cm%3C/div%3E
    • Stephanie Eather Steam Plains from the Quarters, 2023 Oil on polycotton, framed 61 x 77cm
      Stephanie Eather
      Steam Plains from the Quarters, 2023
      Oil on polycotton, framed
      61 x 77cm
      Sold
    • Stephanie Eather Turn on the second track and remember the three big grey box trees on the right when you get out there, 2023 Oil on polycotton, framed 61 x 61cm
      Stephanie Eather
      Turn on the second track and remember the three big grey box trees on the right when you get out there, 2023
      Oil on polycotton, framed
      61 x 61cm
      Sold
  • Installs

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  • News
    • 'Canvas as Sanctum' by Joe Frost for Artist Profile features Stephanie Eather's recent N\H solo 'From Vernon Terrace'

      'Canvas as Sanctum' by Joe Frost for Artist Profile features Stephanie Eather's recent N\H solo 'From Vernon Terrace'

      March 11, 2024
      Anyone who has ventured to express their inner life through painting will likely understand how a buoyant vision can rapidly sink once the brush meets...
      Read more
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Gadigal Land (Sydney)

tel: +61 (0) 2 8599 8000
info@nandahobbs.com

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