The imagery in Eberhardt's paintings invite the type of reflection that
occurs when one slowly observes one's surroundings and realizes the human
activity, both intentional and unintentional, that led to the current
physical state of an interior space and the objects within it. It can be a
beautiful thing, this combination of intentional and unintentional actions
accumulated over time. The result of use and wear can be unpredictable, even
mysterious, making what was once a plain white wall an abundantly rich
surface and subject. This change that occurs over time and activity have a
lot in common with the sequence of events that take place when building a
painting. His painting process starts as a very controlled deliberate act,
but over time becomes an embrace of all that painting has to offer,
including those unexpected occurrences that can be so crucial to the life of
a painting. Although he is after a convincing rendering of the subject,
Eberhardt is not interested in creating a slick artificial surface or a
hyper realistic image. The construction of the image with paint comes at the
forefront and serves as a compelling record of his activity and process, a
combination of intention, accident, deconstruction and reconstruction. It is
important that these images are constructed with this material, not simply
to elevate the subject, but for the discovery and possibilities of the
medium used to construct the image.
