Stead’s work is created within the socio-political cul de sac that is post-Brexit Britain and pokes fun at the inherited hierarchies of the old order, asking questions of what the role and relevance of the art object is during times of social prohibition and uncertainty, where contact may be reduced to the realm of a digital screen. Driven by a fear of ‘white cube’ boredom, the work exists to disrupt the paradigms of commercial obedience, trend and cultural hegemony.
Consisting of found fishing nets, recovered industrial waste and studio detritus, the material is tangled, torn and archived to produce an infinite source of reusable material, which can be repurposed and used over and over again. This exercise of regeneration helps produce a more sustainable studio practice in times of accountability.
Hailing from a train painting background that spanned over two decades, Stead graduated from the City and Guilds of London Art School in 2016 with the Painter-Stainers Scholarship Prize, Brian Till Art History Thesis Award and a First Class BA Hons in Fine Art. He currently works and lives in London, where he continues to study a postgraduate masters in Painting at the Royal College of Art.