It’s a name difficult to pronounce and difficult to find in Spain. He is one year older than 37, that fateful age for so many painters. A complete unknown in his native country. Some of us think that this has to change and we will contribute our grain of sand so that in our country his name does not sound like a standard hieroglyphic. It’s not an easy task.
For many, figurative painting has ceased to be a valid medium for expressing important things. Schrader pays no attention to such skepticism. He remains oblivious to those who state that ‘everything has been painted’. He undertakes his works with the freshness and frankness of an authentic painter who does not care if he’s labeled a ‘provocateur’. Sebastian Schrader only thinks about painting. The chiaroscuro, foreshortening and multiple techniques he employs overflow with qualities that Schrader uses to ‘spice’ his painted stories. They reveal the virtuoso who loves his art and has the blessed ability to flood us with sadness or to bring us to paroxysms of enthusiasm. Samples of his artistry can be found in this modern deposition that Schrader baptized as The Proof, The Sacrifice of the ‘Comunero’ and Expelled.