Bradley Harms

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IT’S COMPLICATED (DISKS), 2013
Acrylic on canvas
48 x 36”

There is no single entry point into a painting made by Bradley Harms. The work transitive and embodied. These two elements are at their most visceral within Harms’ Scrambler and Tabletop series. Both of these sets are large scale paintings that embody both the physical gesture of the artist as well as an all encompassing view of the thought processes behind many types of coding that Harms experiments with in all of his painting. Harms’ Scrambler Sets act as encyclopedic doodle membranes, ready-made sections of code. Elements from these membranes are readily parsed recompiled and grafted into new paintings. These works acts as a means for exploration of ideas, they are test sites for uncoded paintings. The build up from these test sites often comes into its own. The work is then pushed further by Harms until it matures from sketchbook of ideas to a tableaux of expression. Within the folds of their constant referencing and experimentation, the works become active because they represent actions and reactions, they are transitive.

 

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RAGGED EDGE (LT. EMERALD #2), 2013
Acrylic on canvas
24 x 20”

 

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RAGGED EDGE (MUTLI-STRIPE #2), 2013
Acrylic on canvas
18 x 72”

The work embraces the analog by exploring digital aesthetics: glitches, codes and errors. Harms’ painting practice originated in the digital domain. With a background in printmaking, vinyl plotting, printing and graphic design, he is no stranger to this style of aesthetics. For Harms, work produced using predominantly digital means, somehow lacked humanity, it was cold. He transitioned into exploring these digital tropes within the realm of painting; a worthwhile experiment that enabled a dynamic addition of depth and dimension to his work.

5 item(s)

SIMPLE LINE SETS (GREEN, BLACK AND MAGENTA), 2013
Acrylic on canvas
24 x 20

Additonal Works in the Series: SIMPLE LINE SETS (BLACK AND RED); (LT BLUE, YELO, COBALT); (GREEN, RED, BLUE); (PINK, BLACK, BLUE)
Bradely Harms often creates series works. By frequently working in sets, each painting in each series presents its own inquisitive and isolated experimental gesture. Each gesture is then presented mutated and repeated as the build up of the series continues, each series further mutates into new series, where the isolated gesture is again studied, experimented with, applied and repeated. This application of repetition and difference in Harms’ series work evokes perplexity in the viewer. Which painting draws them in the most or least; this one or that one, these colours or those, these lines or those patterns? Harms presents perplexity as a set of questions that always lead to more questions, a modus operandi employed by contemporary artists and curators alike.

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DUAL EVENT (TEAL) 10.20.13, 2013
Acrylic on canvas
30 x 24”

The more printing and digital techniques that have been acquired, the more Harms has been drawn to errors and glitches; exploring the anomaly hidden within perceived perfection. Textiles and printmaking effects that shift foreground and background space, such as interference and moiré patterns, are repeatedly experimented with in his painting, as Event Sets works attest to. These paintings contain a high amount of intensity and tension between foreground and background. In appropriating the techniques and glitches of the digital Harms has written a new looping sequence within the painting program. This work is about build-up, background layering, interference. But more importantly it is about recoding perfection and error. Harms’ painting exploits digital-ness, and perceived faultlessness in order to reveal human-ness and fallibility.