All of Bradley’s male faces—there are no bodies, only heads – are an unholy, unsavoury mix of black, white and grey and all are aggressively, maliciously in-your-face. They bring to mind the visionary insanity of Ludwig Meidner’s pre-World War I apocalyptic faces and of George Baselitz’s post-World War II pandemonium portraits.”
– Donald Kuspit, 2021
Bradley is known as one of the artists at the forefront of new artistic theories and practices exploring the impact of digital technologies on contemporary art and society.
Bradley creates digital tapestries which he calls ‘Classical Digital’, as they relate to both the past and the present. His framed tapestries are woven from acrylic threads with a 1970s Japanese technique that succeeded in achieving the highest possible resolution of images in tapestry form before the advent of digital printing in the 1980s which made this analogue method obsolete. Although the tapestry appears black and white, it is in fact woven from coloured thread.
Recent exhibitions include ‘Stockholm Syndrome’ with Oli Epp at Carl Kostyál, Stockholm, ‘Once Twice’ at The Hole, New York, ‘Still Life 2’ at Brigade Galleri, Copenhagen, ‘Transmission’ at Sullivan & Strumpf, Sydney, ‘Search History’ at The Hole, New York, ‘How to Bend Reality’ at Last Resort, Copenhagen, ‘All Stories’ at Sullivan & Strumpf, Singapore, ‘The Square’ at Future Gallery, Berlin and ‘500 Years’ at Tristian Koenig Gallery, Melbourne.
His work is in the permanent collections of the National Gallery of Victoria, Australia, HEART Herning Museum of Contemporary Art, the Museum of Contemporary Art, Krakow and Lyon Housemuseum, Lyon.