Justin Bradshaw does not present his works to us as though they were products, as things among other things or objects belonging to a specific network of values and meanings, but rather as events captured in a particular moment in time, in a state of passage, as they repeatedly encroach upon the world re-establishing it as an originating possibility through which to communicate and to reinstate new forms of it’s beginning. His painting informs us of light, of the possibility that this physical event conceals through veils and transformations, concealments and allusions, the deeper meaning of artistic communication. A destabilizing which brings stability, waiting rather than searching, a hiding of ideas with the intention of their being found. The paths that the paintings of Bradshaw follows are unexpected, arduous, indirect, and arrive at their meaning through observing another, leaving a vacuum that only a changing interpretation can fill. “Unveiling coverings”, but also “covered unveilings”, the image always represents more that it seems to offer, the meanings multiply beyond the intentions of their author, evocative trajectories spread out like incursions into foreign territories that are forced into existence by the emergency of a new context.
- Fabio Galadini
I. Umbilicus urbis
Genio del mondo fragile
pozzo al centro del centro
del Centro.
Occasione propizia per la discesa
ai regni di Vulcanus, Dite, o Proserpina.
Romolo ti ha segnato
come fossi soltanto pietra
e non geometria, numero, frattale.
Mundus.
I piedi vanno in tondo,
accarezzano l'orlo
del pozzo del mondo.
- from "Mirabilia Urbis" by Fabrizio Falconi
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