All of Bradley’s male faces—there are no bodies, only heads are an unholy, unsavory mix of black, white, and gray, 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 that he calls “Classical Digital” as they relate to both the past and the present. His framed tapestry are woven from acrylic threads with a 1970’s Japanese technique that achieved the highest resolution of tapestry before digital printing came along in the 1980s and made it obsolete. Although the tapestry appears black and white, it is woven from colour threads.
Recent solo and two-persons exhibitions include ‘Stockholm Syndrome’, Carl Kostyál, Stockholm; ‘Once Twice’, The Hole, New York; ‘Still Life 2’, Brigade Galleri, Copenhagen; ‘Transmission’, Sullivan & Strumpf, Sydney; ‘Search History’, The Hole, New York; ‘How to Bend Reality’, Last Resort, Copenhagen; ‘All Stories’, Sullivan & Strumpf, Singapore; ‘The Square’, Future Gallery, Berlin; ‘500 Years’, Tristian Koenig Gallery, Melbourne.
His work is held in the permanent collection of the National Gallery of Victoria, Australia and significant private collections in the United States and Europe including HEART – Herning Museum of Contemporary Art, Museum of Contemporary Art Krakow and Lyon Housemuseum.