| ||It is difficult to imagine that Calvin Bradbury is a self-taught Artist, even while his art by no means fails to stretch our imaginations. While we can accept that the technical development of his paintings as progressive, to believe that Bradbury has not professionally studied is a phenomena. Spending time on the margins of society in some periods of his life, art has carried Bradbury through the vicissitudes of the peripheral. His own focus thus far has been aimed at assessing truth in his art.
Although Bradbury's work is original in its appearance and conceptual value, his techniques appear rooted in more than one school of painting. His most obvious traits bare a distinct resemblance to German Expressionism and American Realism - works by Edward Munch to Edward Hopper, to Alex Colville. Writers and Poets have also heavily influenced Bradbury in his work, from Jack Kerouac, to T.S. Eliot, to Al Purdy. Their influences may give rise to style, as well as subject matter, as well as text in his work.
Certainly it is not the form that we are most drawn to in Bradbury's paintings, so much as we are drawn to the abstract design within his beautifully framed compositions. There is a transaction taking place within Bradbury's work in so many different forms. His work cannot be identified with a single style, technique, or attitude, but can be characterized by a highly imaginative and subjective approach, while emphasizing a dramatic and visionary quality. They challenge the viewer to see clearly and truthfully, assessing in their work a more multi-dimensional state of being.
Despite the blatant nature of his artistic influences, Bradbury's vision is original. His surreal and abstract notions carry with them a tone of romanticism rooted in organic nature and transmogrified to fit its contemporary context. In most all of his pieces, Bradbury demonstrates both a break from representational art and show its development - through to abstract imagery, while remaining true to nature. There is no doubt that through his painting, Bradbury addresses the cultural context that is his own reality.
| ||"Certificate of Appreciation" from the City of Vancouver's "International Day for Elimination of Racial Discriminaton", March 19, 2004
| ||July-August 2013: "2013 Okanagan Erotic Art Show", at the Sparkling Hill Resort, Vernon, BC
August 2012: Juried Group Exhibition, "Painting on the Edge", at the Federation Gallery, Vancouver, BC
June-August 2012: "ARTS 2012", a Juried Exhibition of Visual Art, the Surrey Art Gallery, Surrey, BC
September 2011: "2011 Okanagan Erotic Art Show", at the Ex Nihilo Vineyards, Kelowna, BC
June-August 2011: "ARTS 2011", a Juried Exhibition of Visual Art, the Surrey Art Gallery, Surrey, BC
June 2011: the Fraser Valley Biennale, at the Kariton Gallery, Abottsford, BC
July 2010: Juried Group Exhibition, part of the 2010 Drawing Festival, "The Drawing Room", at the Pendulum Gallery, Vancouver, BC
August 2010: Juried Group Exhibition, "Painting on the Edge", at the Federation Gallery, Vancouver, BC
June-July 2010: Juried Group Exhibition at the Leighdon Studio Gallery, Vancouver, BC
May 2010: Juried Group Exhibition, "artspacific 10", with the Delta Arts Council, at the Firehall Centre for the Arts, Delta, BC
"Demand Dignity Art Exhibition" & Gala at the VanCity Theatre, coinciding with the "Amnesty International Film Festival", November 2009
"UDHR@60 Gala Art Auction" at the Canvas Lounge, December 2008
Amnesty International Film Festival's "UDHR@60 Project", illustrating Article 7 of the "Bill of Human Rights", November 2008
"Painting on the Edge", at the Federation Gallery, August 2007
"Tradition and Beyond" at the Eileen Fong Gallery, April 2007
"Punk Assemblage" at Gallery Gachet, June 2005
"The Way to Bakersfield" at Gallery Gachet, August 2005
Roundhouse Community Centre, May 2005
City Hall, City of Vancouver, March 2004