3 Sep 2015 – 3 Oct 2015

PNI, London

Sean Steadman

The Earth is the Earth Because it is Nothing Other Than the Earth

9.8.7.1.
2015
Watercolour and acrylic, collage on monoprint
44.5 × 35.5 cm (17 ½" × 13 ½")
Unique

Installation view: The Earth is the Earth Because it is Nothing Other Than the Earth

Installation view: The Earth is the Earth Because it is Nothing Other Than the Earth

Lovers with Light Streaming through Window
2015
Oil, oil pastel and paper on canvas
195.5 × 250 × 4 cm (76 ½" × 98 ⅜" × 1 ⅝")
Unique

Installation view: The Earth is the Earth Because it is Nothing Other Than the Earth

Yellow and Blue Scene
2015
Pencil and collage on monoprint
28.5 × 21 cm (11 ¼" × 8 ¼")
Unique

THE MURDER
2015
Steel, paper and oil on canvas
180 × 160 × 4 cm (70 ⅞" × 62 ½" × 1 ⅝")
Unique

Arching Foot
2015
Acrylic, pencil and collage on monoprint
28.5 × 21 cm (11 ¼" × 8 ¼")
Unique

Untitled
2015
Acrylic, pencil and collage on monoprint
28.5 × 21 cm (11 ¼" × 8 ¼")
Unique

Flaming Arrow
2015
Watercolour and acrylic, collage on monoprint
44.5 × 35.5 cm (17 ½" × 13 ½")
Unique

Installation view: The Earth is the Earth Because it is Nothing Other Than the Earth

Installation view: The Earth is the Earth Because it is Nothing Other Than the Earth

Installation view: The Earth is the Earth Because it is Nothing Other Than the Earth

Untitled
2015
Wax, wood, pigment, oil pastel and felt
Dimensions variable
Unique

It’s deceptive that Artworks are considered the natural expression of an idea.

Making a decision undergoes a genesis which is blind. Without visible form, not- image.

Therefore, paradoxically, mental pictures don't give rise to pictures. Its the latter that illuminates the former.

The Earth is the Earth, precisely because it is nothing other than the Earth. A terrible consensus. Imagine all the worlds it isn’t, an infinity.

When clambering over the countless little failures and could-have-beens which constitute each line or colour, (ordinarily described as making choices), the artist ends up loving the worlds concreteness.

In this acceptance there is the recognition of a more primordial starting point than the privileged ‘idea’.

An affirmation to do rather than not.

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