Steven Claydon

Steven Claydon Exhibited at The Saatchi Gallery

Steven Claydon
The Author of Mishap (Them)


Copper powder in resin and peacock feather

Sculpture: 36 x 21.5 x 23.5 cm Plinth: 125 x 30 x 30 cm
Claydon’s The Author of Mishap (Them) takes its inspiration from J.G. Frazer’s The Golden Bough, an early 20th-century dissertation on magic and ritual that was widely denounced for its questionable methodology – a comparative anthropology by ‘genre’ rather than linear science. Mirroring Frazer’s logic, Claydon’s portrait is a composite of three heroic busts of political figures from this time, each embodying radically opposing beliefs. Through this literal hybrid, Claydon incites the current revivals of genetic engineering and post-modern eclecticism as plausible validation of Frazer’s theories. Substituting the traditional hallowed material of bronze for cast copper powder and resin, Claydon defiles his subject’s monumentality; the aged patina has been created through urinating on the object, both an act of defamation and a reference to Warhol’s egalitarian pop. Perched on a burlap-coated plinth reminiscent of 1950s gallery wall coverings, Claydon reinforces his sculpture’s historical stature while belying its association with outdated fashion. The peacock feather operates primarily as a formal device, adding a surreal and dilettantish air to the impoverished authoritarian relic.
Steven Claydon
Lightbox Group


Dimensions variable
Set atop light boxes, Claydon’s mundane objects, such as a medicine ball, cast chicken bones, and new age stones are bathed in the aura-creating light of a museum display, questioning their cultural value. Their arrangement is both scientific and mystical, imbuing the humble relics with the promise of supernatural powers. Cast in bronze from KFC leftovers the bones reference the practice of telling fortunes from animal remains, while the cheap crystals gain treasured status.
Steven Claydon
Chitin & A-Parallelism (New Valkonia) (and 2 details)


Brass, bull horn, plastic

Helmet: 38.1 x 35.6 x 35.6 cm Bull horn: 31.8 x 5.4 x 5.4 cm Lightbox/pedestal:127 x 50.8 x 50.8 cm
Steven Claydon
Valkonian Objects


Brass and steel, bull horn, quartz crystals, bronze

Molecular model: (34.3 x 38.1 x 38.1 cm) Chicken bones: dimensions variable Bull horn: 5.4 x 33 cm 3.8 x 16.5 x 12.7 cm Lightbox/pedestal: 94 x 76.2 x 50.8 cm
Steven Claydon
The Ancients Set Great Store (and 2 details)


Copper, leather, paint

Ball: 27.9 x 27.9 cm Copper Structure: 50.8 x 50.8 x 50.8 cm Lightbox/pedestal: 63.5 x 50.8 x 50.8 cm
Steven Claydon
The Thingliness of Things 1 (Potatoes in the Cellar)


Acrylic, oil, steel, hessian, paper and wood, four parts mounted on plinth

157 x 300 x 150 cm

The Thingliness of Things I (Potatoes In The Cellar) takes its inspiration from Heidegger’s writings on art. One of Heidegger’s philosophical problems was what exactly is it that gives art its special value? At what point does art become art and not just an ordinary object? Heidegger explored this question via a comparison between a stored work of art and potatoes kept in a cellar. Claydon’s own position in relation to this is “I see it as a more complex situation with subtle variations between the realms of material baseness and balanced subjectivity.” In The Thingliness of Things I (Potatoes In The Cellar) Claydon offers an assemblage incorporating domestic and institutional forms that reference both the everyday and the power systems that assign cultural worth.

Steven Claydon
Omar (Emergent)


Ceramic, powder-coated steel, carpet, plywood, starched hessian, found objects, aluminium

189 x 125 x 125 cms
Omar (Emergent) draws reference to De Rerum Natura, an epic poem written by Lucretius to promote Epicureanism to the Romans, as well as the Rubaiyat, an 11th-century Islamic tome by Omar Khayyam. Khayyam was a champion of the Enlightenment who advocated a humanist interpretation of Islam which included women’s rights and drinking. Omar (Emergent) addresses the contradictory developments of philosophical rationalism in relation to contemporary science. Inspired by an ancient Greek belief in the mystical properties of mathematics, Claydon’s sculpture poses as a ‘dodecahedron’, a totem worshipped by the Pythagoreans; the relic was held to bestow god-like powers of good or evil to its possessor. Mounted on the structure is a ceramic bust representing a transforming entity. This tension between the sacred and profane is mirrored through Claydon’s use of domestic or vulgar materials to create an aesthetic of authority.

Other artists in

Caroline Achaintre    Tasha Amini    Hurvin Anderson    Maurizio Anzeri    Jonathan Baldock    Anna Barriball    Steve Bishop    Karla Black    Lyn. Yiadom Boakye    Pablo Bronstein    Alan Brooks    Peter Linde Busk    Carla Busuttil    Nicholas Byrne    Gareth Cadwallader    Juliana Cerqueira Leite    Spartacus Chetwynd    Steven Claydon    Clarisse d'Arcimoles    William Daniels    Matthew Darbyshire    Graham Durward    Tim Ellis    Tom Ellis    Richard Evans    Tessa Farmer    Marcus Foster    Robert Fry    Ximena Garrido-Lecca    Jaime Gili    Nick Goss    Luke Gottelier    Kate Groobey    Anthea Hamilton    Anne Hardy    Gabriel Hartley    Nicholas Hatfull    Iain Hetherington    Alexander Hoda    Sigrid Holmwood    James Howard    Graham Hudson    Dean Hughes    Des Hughes    Mustafa Hulusi    Paul Johnson    Edward Kay    Idris Khan    Scott King    Ansel Krut    littlewhitehead    Christina Mackie    Alastair Mackinven    Goshka Macuga    Ryan Mosley    Rupert Norfolk    Arif Ozakca    Mark Pearson    Dan Perfect    Peter Peri    Olivia Plender    Henrijs Preiss    Ged Quinn    Clunie Reid    Barry Reigate    Luke Rudolf    Maaike Schoorel    Daniel Silver    David Brian Smith    Renee So    Fergal Stapleton    Clare Stephenson    Systems House    Caragh Thuring    Phoebe Unwin    Donald Urquhart    Jonathan Wateridge    John Wynne    Toby Ziegler

Steven Claydon's Biography

Steven Claydon
Born 1969
Lives and works in London


HOTEL, London
David Kordansky Gallery, LA

The Ground is Good, Galerie Rüdiger Schöttle, Munich
The Fifth Dimension, curated by Andrea Bellini, Artissima, Turin
Two Times New Horizon, Galleria Massimo de Carlo, Milan

The Ancient Set and The Fictional Pixel, Film Installations and Performance, Serpentine Pavillion, London
Osram and Omar, HOTEL, London
The Ancient Set, Independent Project Space, Bourneville, Birmingham
A & not A, Galerie Dennis Kimmerich, Düsseldorf

New Valkonia, David Kordansky, Los Angeles

Courtesy Of The Neighbourhood Watch, White Columns, New York
The Glidded Baum, Art Statement, Art Basel 37, Switzerland

All Across the Thready Eye, Galerie Dennis Kimmerich, Düsseldorf
Fear of a Planet, HOTEL, London

The Third of the Third, Hoxton Distillery London

Five works in lieu of a particle accelerator, two-person collaborative exhibition (with Neil Chapman), greengrassi, London


Goldene Zeiten, Haus der Kunst, Munich

The Dark Monarch, Tate St.Ives, Cornwall
Dune, The Drawing Room, London
Le Sang d'un poète, Frac des Pays de la Loire
Remote Memories, Kai10, Düsseldorf, curated by Zdenek Felix

Novel, Bibliothekswohnung Anna-Catherina Gebbers, Berlin
Homage to Modern Art, Galleria Massimo de Carlo, Milan
The Ancient Set, Serpentine Gallery Pavilion, London
Busan Biennial, Busan, South Korea
In Geneva No One Can Hear You Scream, Blondeau Fine Art Services, Geneva, Switzerland

Strange Events Permit Themselves the Luxury of Occurring, curated by Steven Claydon, Camden Arts Centre, London

Nueva Dimension, Hats Plus, London, organised by Dick Evans
Old School, Hauser and Wirth Colnaghi, London, travelling to Zwirner and Wirth, New York
Sympathy For The Devil, Art and Rock and Roll Since 1967, Museum Of Contemporary Art, Chicago
New Valconia, David Kordansky, Los Angeles (Solo)
Come Into The Open, Opening Exhibition Projekt 0047, Oslo
Pale Carnage, Arnolfini, Bristol
Gallery Swap, Hotel at Guido Baudach, Berlin

The Metal Bridge, Sorcha Dallas, Glasgow
Deep Into That Darkness Peering, Galerie Kamm, Berlin
Rings of Saturn, Tate Modern, London
Dereconstruction, Barbara Gladstone Gallery, New York, curated by Matthew Higgs
White Columns, New York (Solo)
Keep Passing The Open Windows Or Happiness, Galerie Gisela Capitain, Cologne
Statements, Art Basel, Basel, Switzerland
Ossian Ward, Steven Claydon, a hybrid history of the avant-hard, The Art Newspaper, Basel, June 14
Writing the Strobe, Curated by Andrew Hunt, Dicksmith Gallery, London

Time Lines, Kunstverein für die Rheinlande und Westphalen, Düsseldorf
Flies Around the Fury Flotsam, Curators Space, London
Odiseado Tra Tempo, Peter Kilchmann Galerie, Zurich, curated by Charlotte Mailler
Jack too Jack, live performance, Portikus, Frankfurt
Paris – Londres: Le Voyage Interieur, Espace Electra, Paris, curated by Alex Farquharson
Jack too Jack, live performance, Inverleith House, Edinburgh
All Across The Thready Eye, Galerie Dennis Kimmerich, Düsseldorf (Solo)
Even a Stopped Clock Tells the Right Time Twice a Day, ICA London
Jack too Jack, live performance, Rio Cinema, London
Post no Bills, White Columns, New York
Clouds of Witness, Islington Town Hall, London
From Earth, film, Light Box, Tate Britain, London
Fear of a Planet, HOTEL, London (Solo)
Remixed Water, live performance, Manchester.

Shades of Destructors, live performance, Prince Charles Theatre, London.
Shades of Destructors, live performance, Gavin Brown Enterprise, New York.
Shades of Destructors, live performance, Humanist society, London.
Live web-cast of sculpture at Show studio
The Last Supper, Group show, Hoxton Distillery
Remixed Water, remix collaboration with Lawrence Wiener and Ned Sublet
The Third of the Third, Hoxton Distillery London (Solo)
In The Gathering Darkness, contribution with Neil Chapman for ‘The Poster The Show 1,2,3...’, group exhibition Hoxton Distillery London

Nibs. Group show curated by Steven Claydon, Hoxton Distillery, London
R.I.P. photographic contribution with Neil Chapman for the Box of the Uncanny, a multiple produced by Christine Walter, Munich.
Strange Greeny from The Sum of the Earth, video screening at Kunstwerk, Berlin
The Sum of the Earth, exhibition of sculpture, installation, video and sound, with Neil Chapman, Hoxton Distillery, London E8

Grey Field Bulge/Tin Foil Blanket, contribution with Neil Chapman for The Poster The Show +1,
group exhibition Hoxton Distillery London

Stepped Series In Response To A Nothing, contribution with Neil Chapman, group exhibition, The
Poster, The Show, The Hoxton Distillery London
It Grows Away, collaboration with Neil Chapman, The Hoxton Distillery London
Loud Like Nature, ADD N TO (X), installation and video, La Box, Borges, France

One Geocrab, film screening as part of Night Stop Cinema, The Week of Small Miracles,, London
Five works in lieu of a particle accelerator, installation with Neil Chapman, Greengrassi, London

The Opposite of a Good Idea, performance with Neil Chapman, Inventory, Volume 3, issue 2, launch, Guy’s Hospital London
ADDING N TO (X), installation and performance, February and April, Villa Noailles, Hyeres, France

Shrimp-Ice Briefing, Live Arts Event, collaboration with Neil Chapman, ICA, London SW1, 30/5
ADD N TO (X) Dinner Music for Electronic Quartet, ICA London
Live performance of group composition to the film, Paper Moon, in collaboration with Barry Adamson, Nick Cave and Pansonic, Royal Festival Hall, London

Its A Curse Its A Burden, video installation in group show curated by Glenn Brown, Approach Gallery, London

City Of Gold, Mister Chicks, Peripheral Visionary, Group Show, Eindhoven, Curated by Colin and Lowe and Roddy Thompson, Holland, May.