Tobias Bradford’s uncanny bodily sculptures speak to the delicate nature of the human psyche. Often animated with rudimentary function, the emotionally charged sculptures enliven a tangent representing the relationship between humor and morbidity, longing, and melancholy, and how these emotions transcend the body and its’ fundamental mechanics. By creating repetitive physical limitations in his sculpture, the artist allows for an infinite amount of freedom for reflection and introspection.
The inaugural exhibition at Saskia Neuman Gallery and Bradford’s first solo exhibition in Sweden, Big Hole further explores themes paramount in the artist’s oeuvre. Although Big Hole presents a complete body of new work, Bradford often reconstructs and reimagines early versions of his sculptures, allowing them to breathe anew. Here, the artist toys with our notion of direction and understanding of the past and present time. Among others, the exhibition reintroduces Bradford’s seminal pigeon, a figure visible in previous installations, is now featured in the new sculpture Nosedive, 2022. In constant motion, the pigeon dives into the abyss, in resistance to an industrial fan, allowing for an almost enchanting yet uncomfortable feeling to grow in the beholder, creating a ‘Waiting for Godot’-esque scene. In addition, Bradford introduces the multifaceted installation Big Hole, 2022, giving the show its name. Big Hole, a lecture complete with a slideshow, presenter, and participants, encourages the viewer to engage, by inviting us to join in and participate.
The exhibition Big Hole guides the viewer on a journey in an approximate second chapter of the artists practice. Bradford’s work encourages both humor and fear, playing on our idea of the obscure and unexpected.
Big Hole 01.09.2022 - 01.10.2022
10.09.2022Dagens Nyheter ↗
01.09.2022Vogue Scandinavia ↗
28.09.2022Dagens Nyheter ↗
11.09.2022Art Notes ↗
Jonna Dagliden Hunt