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Rachal Bradley, Of Sex, 2016. Installation view. 43 Bio resin and fibre-glass moulds and 4 inkjet prints on tracing paper. Courtesy of the artist and Galerie Gregor Staiger. Photo: Andy Keate.

Rachal Bradley, Oikos 1. 2016. 2 Inkjet prints on tracing paper, each 21 x 19.7 cm. Courtesy of the artist and Galerie Gregor Staiger.

Rachal Bradley, After Venice, 2013. Installation view. 6 Digital c-type prints on aluminium, Renby fog machine and steel components, steel cables and components, aluminium channel, nylon piping, hose pipe and fixture, faucet, bucket, gallery water source, pressure. Courtesy of the artist and Piper Keys, London. Photo: Michael Heigemeil.

Rachal Bradley, MEGA-dérive (black and white version), 2014. Photo etchings, housewife pillows, steel etching plates. Dimensions variable. Courtesy of the artist and Seventeen Gallery.

Rachal Bradley approaches art as a behavioral problem spanning from the private individual to the societal by way of constant, mutually dynamic energy forms. The focus of her art is not the finished product, as such, but the processes of relations created therein, and how these contribute not only to the shaping of a works’ meaning but how this meaning may, in turn, shape societal behavior.

Infrastructure is always personal.

Long obsessed by the overlaps, interlaps and exolaps between different system operations, one interest is in the use of art forms or movements as autonomous material. The artwork is deployed as both the system of organisation, the determinate agent and outcome. These are used as a kind of digging tool or reflector to evacuate deeply embedded narratives shored up in the assumptions behind human organisation.

In her particular way Bradley brings into material proximity seemingly disparate themes; consent, cybernetics, revenge, organisational theory, gossip, legal principles, industrial production methods, real estate, appropriation and celebrity crime. 

For the artist this is a move towards engaging with what art does in its full complexity, rather than solely dealing with what art means.

She also writes…

Her solo exhibition Interlocutor opens at Gasworks on 24 January 2018.

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Rachal Bradley was born and raised in Blackpool and is now based in Nottingham, where she lives with her partner and son. Bradley is a lecturer in the Fine Art Department at Nottingham Trent University. Recent solo presentations include, Of Sex, Galerie Gregor Staiger, Frieze, London (2016); Foreign Press, Galerie Gregor Staiger, Zurich; and Only for Loving Medium, Present Future, Artissima, Turin, selected by Fatima Hellberg (both 2015). Selected group exhibitions include, TG, Nottingham at SUNDAY art fair; Le Bourgeois, 3236RLS, London; Neo-Pagan Bitch Witch’, curated by Lucy Stein and Franc-Lise McGurn, Evelyn Yard, London; Je Suis Feministe, Penarth Centre, London (all 2016); Repeating, Westfälischer Kunstverein, Münster; and CLINIC, a two-person exhibition with Patricia L Boyd, YEARS, Copenhagen (2014).

Rachal Bradley is the second artist to benefit from the Freelands Gasworks Partnership, a 3-year programme for emerging artists based outside London, made possible thanks to a generous grant from the Freelands Foundation. The programme combines Gasworks’ 3 month residency with an exhibition and a series of public events. 

The Freelands Gasworks Partnership marks an exciting new departure for Gasworks, whose groundbreaking residency programme is known for supporting emerging international artists and can now, for the first time, be offered to a UK-based artist. The programme provides the selected artists with the freedom to research and develop new work in London, while also receiving curatorial support towards an exhibition and a public programme at Gasworks. The 2016/17 Freelands Gasworks Partnership recipient was Jamie Crewe.