Emotional utterances of relinquished objects provide Page the preliminary signals for enquiry across his practice. In this case a gravity subjected, light-perforated bivvy performs as the antithesis of the Gothic vernacular, whilst maintaining cognitive recognition regarding function. A shielding congregational structure, covert, singular, deployable.

With primary concerns derived from the friction between contemplative abstraction and aesthetic security, Page’s work establishes formally monastic occupancy within the unity of psychophysiological and constructed perspectival space. Working closely with renaissance mathematics, Page navigates stages of manual and digital labour, meticulously rendering the purposeful material translucence. Such Lacanian mannerisms transmogrify through drawing leading to a profound yet unfamiliar proximity to the object, and that through the re- deployment of organised space, indicates mathematical abstraction.

Maintaining a cognitive state of melancholic conjecture, a conviction influenced by the readings of early modern antiquarian travellers, a coerced non-fiction is revealed within the copiousness of Page’s research. The recognised shift in formal agenda is undeniably a key moment in the process whereby the re-representation of aesthetic/objective fact is momentarily where mathematical systems and psychological space collide. For Page it is within the oxymoronic scrutiny of the non-real object, as often dictated through a combination of self-assertive orthogonal projections, that the illuminated objects manifest as resting points for the contemplative blissful on-looker.

In 2022 Michael Andrew Page opened his first solo gallery exhibitions at Project Native Informant, PYGHTLE. In January 2024 Project Native Informant will present Page’s second gallery show, CLAUSTRUM.

British artist Sean Steadman is first and foremost a painter. Steadman is invested in the medium’s specificities and its ability to draw out new visual forms. His practice arises from research into the history of image production, from the prehistoric to contemporary visual culture. His process is essentially intuitive and dialectical: after an initial drawing phase, Steadman works on the entirety of the canvas’ surface, applying, erasing, layering until a suitable starting point is achieved.  This initial phase is deliberately fast and decisive, so as not to allow critical reflection. The actual making of the image occurs through what Steadman refers to as the “digging down, where the painting is as much uncovered as it is built up from the outside”.

As seen in his solo exhibitions 1,000,000,000,000 and Cascade, all at once, the paintings appear corseted, perforated, entangled, swollen, or torn, insisting on aggregation through anarchic exposure. Through multiple phases over many months, the final composition can often deviate wildly from the original starting point; however this first phase anchors the works later developments. Steadman’s paintings marshal space, even if their structures are utterly mercurial. They are dialectics of schisms, sediments, breakages, the pulverulent and protuberant of colour and composition.

In 2024, Steadman presented a solo exhibition at Art Basel Hong Kong prior to his solo exhibition with the Devonshire Collective, Eastbourne.