Light is a constant agent within Jyll Bradley’s work encompassing photography, installation, text, sound and drawing. Central to her practice is the form of the commercial light box which she uses for its reference to both advertising and Minimalism. In her work, light acts as a protagonist, drawing together the photographic, the literary and the sculptural to create dynamic spaces for inquiry into identity, choice and place. Bradley sees her light box works as akin to mini-dramas with each element playing its role. In this vein, her work often employs pairings and a/symmetry, suggesting lovers, or the interdependency of one element upon another.
Bradley’s drawings, made with simple light sources such as the photocopier are intimate allies of her light box works and are formed from the ephemera (paper, fragments of text) used in the making of those larger pieces. These drawings, playing with pictorial space and imprinted by the fleeting human presence of the Rorschach (inkblot) could be said to explore the hidden spaces within the light boxes, suggesting a desire to unpack their luminosity and further become part of their drama.
Jyll Bradley (b.Folkestone 1966) was educated at Goldsmith’s College (1985–88) and the Slade (1991–3). Since the early 1990’s she has exhibited her work in numerous notable exhibitions both in the UK and internationally including The British Art Show at the Hayward Gallery, Maureen Paley Interim Art, the Walker Art Gallery, Liverpool and the inaugural show at the Calouste Gulbenkian Foundation, London. Bradley has also undertaken major commissions for the re-opening of Arnolfini, Bristol, UK, and solo British Council funded projects with Museo De Antioquia, Medellin, Colombia and Vitamin Creative Space, Guangzhou, China. In 2008 her Residency within Liverpool Botanical Collection formed one of the significant commissions for the city’s year as European Capital of Culture. Bradley’s work was recently the subject of a major survey show Airports for the Lights, Shadows and Particles first shown at The Exchange (Newlyn Art Gallery) in 2010 and touring to the Bluecoat, Liverpool 2011. Jyll Bradley was nominated for the Becks Futures in 2005 and The Paul Hamlyn Award for Artists in 2006 and 2007. Her work is represented in a number of Private and Museum collections including the Walker Art Gallery, Liverpool, UK.
Bradley’s drawings, made with simple light sources such as the photocopier are intimate allies of her light box works and are formed from the ephemera (paper, fragments of text) used in the making of those larger pieces. These drawings, playing with pictorial space and imprinted by the fleeting human presence of the Rorschach (inkblot) could be said to explore the hidden spaces within the light boxes, suggesting a desire to unpack their luminosity and further become part of their drama.
Jyll Bradley (b.Folkestone 1966) was educated at Goldsmith’s College (1985–88) and the Slade (1991–3). Since the early 1990’s she has exhibited her work in numerous notable exhibitions both in the UK and internationally including The British Art Show at the Hayward Gallery, Maureen Paley Interim Art, the Walker Art Gallery, Liverpool and the inaugural show at the Calouste Gulbenkian Foundation, London. Bradley has also undertaken major commissions for the re-opening of Arnolfini, Bristol, UK, and solo British Council funded projects with Museo De Antioquia, Medellin, Colombia and Vitamin Creative Space, Guangzhou, China. In 2008 her Residency within Liverpool Botanical Collection formed one of the significant commissions for the city’s year as European Capital of Culture. Bradley’s work was recently the subject of a major survey show Airports for the Lights, Shadows and Particles first shown at The Exchange (Newlyn Art Gallery) in 2010 and touring to the Bluecoat, Liverpool 2011. Jyll Bradley was nominated for the Becks Futures in 2005 and The Paul Hamlyn Award for Artists in 2006 and 2007. Her work is represented in a number of Private and Museum collections including the Walker Art Gallery, Liverpool, UK.