Rebecca Bradley’s practice investigates themes of landscape and memory through painting. Through a process of studio and site based research, she explores how our sense of place is not certain but contingent upon what we believe and what we choose to remember. This solo exhibition explores her experiences of locations such as the Cork City Docklands and its surrounding harbour. Her paintings reflect on, and evoke our lived and deeply subjective impressions of place. She salvages and embeds materials, such as rubble and sand, from these sites, to build up surfaces that punctuate and disrupt the traditional two dimensional picture plane. For Bradley this process is a bid to archive these unstable spaces, and alludes to their mutability from ongoing human and ecological interventions.
Bradley holds an MA in fine art and process from the Crawford college of art and design. Solo exhibitions include: Provisional View, Sternview Gallery, Cork, (2015); Situate, Parade, Margate, UK, (2013); Postcards, Enniskillen Visual Arts Festival, Co. Fermanagh, (2010); Soft Days, Doswell Gallery, Rosscarberry, Co. Cork, (2009). Group exhibitions include: Art Works, Visual, Carlow Arts Festival, (2016); Utopia Dystopia, Fringe Arts Festival, Bath, UK, (2016); There’s a Ghost in My House 2, Symposium and Exhibition, CIT Crawford College of Art and Design, Cork, (2015); Sulumuc, Tactic Gallery, Sample-Studios, Cork, (2014); Land and Sea, Sirius Arts Centre, Cobh, (2011); Miami SCOPE Art Fair, (2010).
“These are paintings that deserve to be viewed close-up and sidelong, so that we are reminded why it is that people still do and should and need to paint.” – Dr. Sarah Hayden, University of Southampton, excerpt from talk delivered on the occasion of the opening of Provisional View Exhibition, September 2015
“She uses found materials such as foxed paper and faded postcards to make quietly restrained paintings of gentle decay. The results at first seem muted and spare, almost minimal, but also present an absorbing investigation into the transitions between two and three dimensional spaces, using shallow relief, recession and torn, frayed layers.” – Sarah Kelleher, writer and curator, in Paper Visual Art Journal
“Outstanding textural paintings based on landscape” – Aidan Dunne, The Irish Times visual art critic