From our clients
Christopher Elliot Design
Stefan's work displays a masterful technique and unique sensibility for landscapes, which is also evident in his geometric abstract works. Layering blocks of colour to create a dimension beyond the paper or canvas and drawing your eye to the work. I find refuge in his established visual language; reflecting a sense of ethereal space. Christopher Elliot | Principal Designer, Melbourne
Levitch Design Australia
After discovering Stefan's work at Den Fair last year our practice has now worked with Therese and Stefan on several projects. Our practice specialises in healthcare and their artwork has provided wonderfully finished and unique pieces for our clients. They have a beautiful collection which includes both original work and limited edition prints, all of which are either custom stretched or framed. The personal service, professionalism and attention to detail that Therese and Stefan provide makes them a complete pleasure to deal with and we look forward to working together on our next project. Annette Vains | Levitch Design, Sydney
Aesthetical | colour and design
I just wanted to pass on my thanks for the framed print that arrived today. Both my client and I absolutely love the print FROST, it looks lovely online and even more beautiful in person. The float mount and framing complement the artwork perfectly. Such a gem of a find, I’ll be sure to use your artwork for more client projects in the future. Jane Purcell | Designer, Sydney
Robert Hollingworth | Artist, Suliman Prize Winner, Author, Curator at The Wall Projects | Extract from Panoramas catalogue essay
" Artistic merit can be determined by asking at least two simple questions: does the work have something to say, and does it say it well? Students of art grapple with the former – having something to say – their limited life experience doesn’t help. Initiates also grapple with the latter – saying something well. That means finding a suitable medium – oil, acrylic, watercolour, bronze, felt – and learning how to engage with it.
Stefan Gevers has long past this stage. He knows what he wants to say and has found his medium, predominantly watercolour, which he handles as though the stuff is in his bloodstream. He is aware that it’s not about mastering the medium. Instead, he recognises clearly what watercolour wants to do all by itself and has learned to collaborate with it, to work in tandem – artist and medium – so that the outcome rewards both. Balance and unity are not just properties of composition but of process as well. So, good painting is really a love affair.
A glance at Stefan Gevers’ work is enough to appreciate this pleasing relationship. Nothing is forced, nothing feigned, there’s no charade. He sees, he feels, he translates directly, no preliminary studies, no pre-drawing or marking out. Composing goes on in the artist’s head just as it might for a composer of music.
This kind of forthrightness in contemporary art is rarer than some may think. Many artists feel there is some imperative to hunt down novelty, and believe art is about trends and ideas when perhaps it’s much more about insight. Perception and empathy are this artist’s stock in trade... "
Daniel Hupputz | Swinburne University of Technology, Melbourne - Deputy Department Chair, Senior Lecturer, Interior Design
" Stefan Gevers’ series of paintings and sculptures, originated in a road trip to northern Victoria and the resulting paintings reflect particular details of the Australian landscape. However, these are not the picturesque landscapes of tourism advertisements – there are no images of conventionally “beautiful” sights, instead Gevers focuses on overlooked details in the landscape, magnifying evidence of human intervention and presence...
While there is a sense of lingering melancholy in these images, their restrained nature reflects a particular artistic practice. The landscape has been abstracted by Gevers, rendered in flat solid blocks in a limited and muted range of colours. The landscape has been stripped back to bare essentials in a process of abstraction in Gevers’ reductive aesthetic.."
Extract from exhibition essay, Natural Order