In her highly gestural Fluid Dynamics series, Linda Bradford seeks to collaborate with the dynamics of Nature via the hydraulics of paint and the “spring coefficient” of her brushes. Meanwhile, she also tries to remain open-minded and allow the brush to lead, like dancing.
Ever since she discovered how polyurethane foam brushes can drag and release paint in passages and patterns of seemingly photographic detail, Bradford has been exploiting industrial foam. Working with custom-fabricated brushes, she can pivot the brush mid-stroke without losing contact with the paper, recording on a two-dimensional surface a reorientation that took place in three dimensions.
Whether doing work that is gestural or geometric, studio or digital, black and white or color, Bradford seeks to achieve the illusion of dimensionality in order to open up space, to make two dimensions appear to be three—all the better for the viewer to be lost in. For when focus is fully absorbed, perception becomes the narrative.