Working mainly with video, photography, sculpture, and installation, Grant Stevens’ art practice explores how the verbal and non-verbal languages of popular culture interface with contemporary subjectivity. Treading a fine line between vacuous and profound, Stevens merges the highly personal with the bleakly generic to explore the apathies and oxymorons plaguing the 21st Century self.

Selected Works
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Horizon of Happiness 2023

real-time procedurally generated computer graphics with sound
endless duration
edition of 5 plus 2 artist's proofs

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The Forest 2020

real-time procedurally generated computer graphics with sound, multiple display formats
1-3 video channels
endless duration
Edition of 5 plus 2 artist's proofs.

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Happiness 2018

4K video with sound, single channel
5 min 29 sec
Edition of 3 plus 2 artist's proofs

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The Universe 2018

4K video with sound
8 mins, 1-3 channels
Edition of 3 plus 2 artist's proofs

The Waterfalls II 2016

archival ink on archival paper,
82.5 × 55 cm
Edition of 3 + 2AP (#1/3)

The Waterfalls IV 2016

archival ink on archival paper
82.5 × 55 cm

The Waterfalls XI 2016

archival ink on archival paper
82.5 × 55 cm

The Waterfalls I 2016

archival ink on archival paper
82.5 × 55 cm
Edition of 3 + 2AP

Horizon of Happiness
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About

Grant Stevens

Biography

Lives and works in Gadigal Land/Sydney
Born 1980, Meanjin/Brisbane

Working mainly with video, photography, sculpture, and installation, Grant Stevens’ art practice explores how the verbal and non-verbal languages of popular culture interface with contemporary subjectivity. Treading a fine line between vacuous and profound, Stevens merges the highly personal with the bleakly generic to explore the apathies and oxymorons plaguing the 21st Century self.

His works regularly take their inspiration and reference material directly from television, movies, and the Interent, as they seek to unravel ambivalent connections between cultural clichés and lived experiences. Fascinated by quests for happiness, self-improvement, and existential meaning, Stevens’ work questions how the forms and messages of emotional capitalism are impacting contemporary experiences and expressions of identity.

Stevens has exhibited widely in Australia and internationally. Significant exhibitions include: GOMA Q: Contemporary Art from Queensland, QAGOMA, Brisbane (2015); What We Had Was Real, City Gallery, Wellington (2014); The Wandering: Moving Images from the MCA Collection, touring exhibition, various venues (2013-14); Supermassive, LA Louver, Venice, CA (2013); We Used to Talk About Love, Art Gallery of New South Wales, Sydney (2013); Desire Lines, Australian Centre for Contemporary Art, Melbourne (2012); Life is Risk/Art is Risk, National Artists’ Self-Portrait Prize, University of Queensland Art Museum, Brisbane (2011); No Bad Days, Institute of Modern Art, Brisbane (2008); Cliché and Collusion: Video Works by Grant Stevens, Museum of Art, Brigham Young University, Provo, Utah (2007); The Leisure Class, the Australian Cinematheque, QAGOMA, Brisbane (2007). He has undertaken residencies in Los Angeles, Shenzhen, and Sydney, and has received numerous prizes and awards for his work.

Stevens’ works are held in many private collections, as well as public institutions such as: the Queensland Art Gallery|Gallery of Modern Art, Brisbane; the Museum of Contemporary Art, Sydney; the National Gallery of Victoria, Melbourne; Artbank; the University of Queensland Art Collection, Brisbane; and the Oppenheimer Collection, Nerman Museum of Contemporary Art, Kansas City, Kansas, USA.

Sullivan+Strumpf acknowledge the Indigenous People of this land, the traditional custodians on whose Country we work, live and learn. We pay respect to Elders, past and present, and recognise their continued connection to culture, land, waters and community.

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