Sean Steadman

Sean Steadman was born in 1989 in Chelmsford, Essex, UK. He lives and works in London. Steadman graduated from The Royal Academy of Art in 2015 and is represented by Project Native Informant, London.Selected Exhibitions include CONDO, Project Native Informant, London; 11R, New York (2017); A Rose Is Without a 'Why'. It Blooms Because It Blooms, Carl Freedman Gallery, London; Cuts, Shapes Breaks and Scrapes, Seventeen Gallery, London; All about my Mother, Royal Academy of Arts London, London; Independent New York; Project Native informant; New York (2016); CHIMP CRACK NUT WITH ROCK (to what extent is it asking a question?), Kennington residency, London; The Earth is the Earth Because it is Nothing Other Than the Earth, Solo Presentation at Project Native Informant, LondonRoyal Academy Degree Show, Royal Academy of Art, London (2015); At Home Salon, Marcelle Joseph Projects,London; Art After the Internet, Andor Gallery, London; Sean Steadman, Jackie Reynal, News of the World Gallery, London (2014); Matters of Translation, Boetzelaer Nispen Gallery, London; Exposure Award, Parasol Unit, London (2012).

Through a practice primarily concerned with painting and drawing, Steadman investigates the problem that sits behind the tradition of figuration; how does one represent something in a picture? He stresses that to depict something is not a secondary process as he insists responding to a ‘subject’ in the world is primary. His work explores how we make new worlds that are not found in everyday life. Steadman is interested to explore how these found worlds are overlaid and integrated into our ordinary perception of things. The artist seeks to explore how painting presents ideas or conveys meaning as an expression of language's limitation, whilst simultaneously opening up a space for contemplation. Steadman works in an intuitive way allowing painting and drawing to evolve of their own accord deliberately incorporating mistakes and unexpected occurrences, whilst also working to push the work into places that were not envisaged at the start. For instance, he will often repeatedly flip the canvas or paint large sections out in order to find the picture and its subject through the very process of making.


Sean Steadman and Gabriel Hartley, Fabrication of The Sleeping Procession, 2017

Sean Steadman