Eion Stevens’ pictorial endeavours have always had associations with other forms of artistic pursuits, whether it is musical or theatrical. The idea of using the painting’s surface as a stage has, over time, become a recurring pictorial device; scenes that feature a cast of thousands are often framed with drawn-back curtains. Stevens has used this device in order to create avenue through which he can tell a complex and important narrative. Furthermore these deep and conflicting layers are enhanced by each viewer’s comprehension of what they see before them on Stevens’ make believe stage. The notions of perception and interpretation take many forms in Stevens’ work. The collage approach results in the configuration of various objects within the picture plane that lends them to personal interpretation. This gives the viewer the ability to assign their own individual narrative to make sense of the jumbled assemblages.

A tightly reined use of colour combined with playful handling of spatial depth highlights Stevens’s careful assimilation of international art movements such as Surrealism. Broad sources of inspiration have been gleaned ranging from Renaissance Masters to twentieth century art leaders like pop icon Kitaj, Spanish surrealist Miro, and colourist Chagall.