Robert Bradford is a British artist and sculptor working with discarded objects to create large three-dimensional sculptures. His work is often described as cutting-edge, whimsical, ingenious and even ridiculous, and garners international attention for his innovative and engaging ability to transform discarded objects into colourful sculptures.
We caught up with Robert to ask him a few questions about his art and what it is like to work primarily with found objects.
Please tell us a bit about your work.
My work tends to evolve in series. I often follow groups of ideas for as long as I feel that they are developing…before following a new set or an offshoot of the central series. I am quite restless as an artist and like to experiment with stuff.
Do you always use found objects?
I certainly have a preference for, and sympathy with, found objects and there are several reasons why. I like the materials to have meaning /content/history within themselves. I feel it adds depth to the works and makes the sculptures more human via their past connections.
With the toys, I like the idea that other unaccredited artists have made them and I am giving them a kind of exhibition in an art context. Toys are particularly great because they come in all shapes and sizes - I haven't thought of anything else that has the same potential for variety in form or content.
Are the recycled objects used in your work an environmental statement? A statement on consumption?
I think it's inevitable that consumerism comes to mind when looking at the pieces, but as I have tried to explain, that 'message' is not my first line of communication.
Often shape and form, colour and reference, are the first priorities along with (sometimes very approximate) anatomy substitutions, jokes, etc. with some horror and silliness poking their heads in occasionally. But I do get a bit nauseous in shopping centres and I am a bit disgusted with our own cultures’ indulgences relative to some of the poorer cultures.
Where do you get the objects to use in the sculptures?
I have to also admit to being slightly addicted to car boot sales, which is a bit tricky during the worst of the winter months and contradicts my anti-consumerism attitude a bit. One woman sent me her children’s toys from New York to use on her sculpture, I really liked that.
Do you purchase objects if you don't have enough 'found' objects?
Yes, I do buy things both ordinarily or when there is a 'drought', often as I need a minimum amount of pairs for some areas of symmetry, or because I need 'fillers' or something. I never spend more than a pound or two though - well not yet.
How do you decide which objects will be used for a sculpture?
If the form is wrong the content will not sustain the piece. You can only distort a human or an animal to a certain extent before it becomes totally grotesque or meaningless, but these issues are the interest and the involvement for me. I will often feature a particular toy or object that I especially like as a motif that represents the totality of the work for me. It may not be that obvious to someone viewing the work though and may even be hidden. Yes, the objects add meaning and sometimes are the meaning or part of it.
What type of objects do you use in your work?
Currently, mainly plastic and soft toys, brushes, scourers...but it will not stop there; nothing is safe or sacred around here really.
Do you primarily make human and animal sculptures?
They are the things that matter the most to me and represent the most complexity. They are also the hardest to deal with formally I think, given the daft materials I choose to use.
How does the largeness of the sculpture create meaning for the viewer?
Sometimes in a very simple way, if you blow something up larger it literally occupies more space and tends to draw attention to itself, thereby becoming more important. But also I like working large, I can get a bit fiddly and obsessive otherwise. I prefer bodily rather than digital involvement if I can get it, I have quite big hands.
What response do you get from people who view your sculptures?
A whole spectrum of responses from total admiration through curiosity to disgust and dismissiveness. I like the pieces to be perched on the edge of kitsch but not to fall right over into it but that is a pretty subjective boundary. Often I get smiles.
What transforms the discarded objects into art?
Art transforms discarded objects into art! Again it is a very narrow path to tread. Crap is sometimes just crap.
Why do you think the found objects suddenly have value in the form of a sculpture?
Because they have become something else or have contributed to something becoming something else. Because they have had the value system that surrounds them changed, diverted or questioned, and they can no longer be subject to the same judgements. The simple truth is that a beautiful or meaningful form will transcend most things.
Visit: http://www.robertbradford.co.uk/
i luv it!
written by miss.anrowra , June 15, 2011
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written by Fredrick , March 22, 2011