Bradshaw's individual pieces differ widely stylistically and thematically, and this is mainly due the working processes adopted by the artist. He continually collects and correlates textural information in the form of sentences or phrases, listing these into a database for future reference. The sentences chosen for inclusion onto this list will follow strict predefined criteria. All of the text used will mix a poetic verbalisation and considered cerebel processes in a context that rings a sense of the sublime within the reader.
The text will later, (sometimes years later), be selected for the inclusion into a finished work. Bradshaw likes to deconstruct the language and analyse the many conceptualities, which can be taken from any piece of text and then attempts to construct a context within which to place it. The conceptualisation of any given piece of work is often formed over months, the final construction/creation of the piece being the final flourish of activity to the whole process.
The text will later, (sometimes years later), be selected for the inclusion into a finished work. Bradshaw likes to deconstruct the language and analyse the many conceptualities, which can be taken from any piece of text and then attempts to construct a context within which to place it. The conceptualisation of any given piece of work is often formed over months, the final construction/creation of the piece being the final flourish of activity to the whole process.
Bradshaw's work over all is subversive to say the least, adopting an almost punk sensibility presented within a conceptually refined framework. He presents the voice of a dejected youth and embraces urban life to almost political ends.
Taking references from popular culture and the artist's daily actives, the work displays a dry deadpan humour, which often makes the work disconcerting. Bradshaw relishes the anxiety that he causes in dealing with subject matter such as death, gender and morality with an often morbid fascination intending to both draw the viewer in and then suddenly repel them again.
Taking references from popular culture and the artist's daily actives, the work displays a dry deadpan humour, which often makes the work disconcerting. Bradshaw relishes the anxiety that he causes in dealing with subject matter such as death, gender and morality with an often morbid fascination intending to both draw the viewer in and then suddenly repel them again.
After completing a BA (Hons) in Painting at Cardiff University in 2000, James Bradshaw took a year's residency in Turkey before subsequently moving to Amsterdam for a year. He exhibited in both countries to critical and public acclaim. He later completed an MA in Painting at Winchester School of Art. James now lives and works in London where he produces artwork from his studio in the East-end.
Hollow Contemporary Art Gallery was based on busy Upper Street in Islington, North London and opened its doors in early 2004. It soon became renowned for showing young and provocative art talent. Sadly, Hollow closed its doors in 2006 due to a lack of funding, but not before it finale show "Hollow Salon 2006" curated by James Bradshaw and Roderick Barton. Hollow Salon showed over 60 young artists from all over the UK and was, without doubt, one of the high points in the galleries success.