Sean Steadman

Portrait with Butterfly
2017
Oil on canvas
51 × 41 × 2 cm (20 ⅛” × 16 ⅛” × ¾”)

Naked Figure
2017
Oil on canvas
220 × 150 cm (86 ⅝" × 59")

Night Swimmer
2016
Oil on canvas
40 × 51 cm (15 ¾" × 20 ⅛")

Red Hand
2016
Oil on canvas
46 × 56 cm (18 ⅛" × 22")

The Verge
2016
Oil and mixed media on canvas
250 × 160 cm (98 ⅜" × 62 ½")

Installation view: The Earth is the Earth Because It is Nothing Other than the Earth, Project Native Informant 2015

Pump
2015
Pencil on monoprint
28.5 × 21 cm (11 ¼" × 8 ¼")

Installation view: The Earth is the Earth Because It is Nothing Other than the Earth, Project Native Informant 2015

Day
2015
Mild steel, oil, paper, wood, MDF, plastic beads and acrylic on canvas
255 × 162 × 5 cm (100 ⅜" × 63 ¾" × 1 ½")

CV

Sean Steadman

Solo and Duo Exhibitions:

2014 Sean Steadman, Jackie Reynal, News of the World Gallery, London

Group Exhibitions:

2017 11R, New York
2016 Silleteros, Kinman Gallery, London
2016 A Rose is without a ‘why’. It blooms because it blooms, Carl Freedman, London
2016 Cut, Shapes, Breaks and Scrapes, Seventeen, London
2016 Cybernetic Meadow, Slate Projects/Averard Hotel
2015 Chimp Cracks Nut with Rock (To What Extent Is It Asking a Question?), The Kennington Residency, London
2014 At Home Salon, Marcelle Joseph Projects, London
2014 Art After the Internet, Andor Gallery, London
2012 Matters of Translation, Boetzelaer Nispen Gallery, London
2012 Exposure Award, Parasol Unit, London
2011 Each Day We Live Happier, Hatch Space, London

Curation:

2016 A Rose is without a ‘why’. It blooms because it blooms, Carl Freedman, London
2015 Chimp Cracks Nut with Rock (To What Extent Is It Asking a Question?), The Kennington Residency, London

PRESS / REVIEWS

30 Sep 2015

SST :: FROM TIME BOMBS TO FRUIT BASKETS

In London the acceptance of sloppiness seems to be a form of radicalism, and the city loves politics in its art, whether in ironic or blatant forms. Sean Steadman’s recent exhibition at Project Native Informant was a good example of this. It showcased collaged paintings and drawings of coiling abstractions that are reminiscent of arteries, pipes, and tires from both organic and mechanical life forms. They are messy and some are utterly unattractive, but they have a push-away, anti-authority, anti-form that makes them feel interesting, albeit not fun to look at. This sense of a middle finger being given to the expected through the production of works, and an exhibition space knowing this yet still not caring, is the type of attitude that London artists and spaces do with aplomb, confidence, and a lack of irony, and that I have yet to see in other places.

 Jamie Sterns ArtNews 10/27/15 4:53 PM