Richard Bradley 50ml EDT Description The logical alternative to the blandness of modern television, this fragrance allows you to re-live all the fun of static television within your own nose. With conductive copper wire and a slightly repellent application of paint, this fragrance suggests that instead of TV, maybe it’s time to go and make something. Features Citronella, a natural repellent, instantly attempts to sway the mind away from TV, though this is offset by the an att

Taking ideas from artists and turning them into paint. Each paint is already primed with implications and preconceptions based on the artists’ ideas: This allows you to choose between using the paint as a raw medium, or exploiting the connotations found within the paint. The choice is yours. Colour #4 – Cups Stacked on Top of Each Other With unique texture and a bold, unashamed hue, ‘Cups Stacked On Top Of Each Other’ can always be relied upon. Whether depicting social intera

Taking ideas from artists and turning them into paint. Each paint is already primed with implications and preconceptions based on the artists’ ideas: This allows you to choose between using the paint as a raw medium, or exploiting the connotations found within the paint. The choice is yours. Colour #3 – Overheard Conversations in Public Spaces Specialist paint with a joyously inconsistent texture and a playful sense of Alchemy, ‘Overheard Conversations in Public Spaces’ celeb

Taking ideas from artists and turning them into paint. Each paint is already primed with implications and preconceptions based on the artists’ ideas: This allows you to choose between using the paint as a raw medium, or exploiting the connotations found within the paint. The choice is yours. Colour #1 – The Hotel A theatrical exploration of the properties of pigment, ‘The Hotel’ has a clean texture and smooth consistency that evokes certain nostalgia. With a strong surface sh

Last Wednesday I held the first of three paint making workshops to be held at The Bessemer II Gallery in Sheffield. As ever, the paint making workshop provided me with the opportunity to engage with local artists by sharing knowledge and highlighting the possibilities of paint, including how to create paint from everyday foods and the notion that paint is able to be considered the end result of a creative process. I hope my workshops make people think a little differently abo

I am creating a piece of work that assesses the nature of painting, and speculates whether a painting needs to exist if we are able to design, brand and distribute the idea of a painting within the context of commercialism. Basically, the work has me collect thoughts – imagined by artists – towards a painting they could make that doesn’t exist. It could be a painting that you have considered before but haven’t got round to, or it might be entirely imagined but still within th

Unceremoniously, I have sprained my ankle, which has dictated a halt in creative proceedings. I have designed a make-shift studio in my living room, complete with hastily purchased paint products and canvases. However, progress is slow due to the endless balancing act of attempting to apply pigment to surface whilst keeping my foot in a levitated position at all times. And yet, in the wake of such frustration, some excellent news. From September I shall be hosting a paint mak

If you have been wondering where I have escaped to for the last month or so (and let’s face it, most of you have) I can joyously claim that I’ve actually been getting some bloody work done. The last few weeks have been a relentless pursuit of finished articles before the bite of winter renders the studio I work in uninhabitable. I find it a bit of a struggle to exact a balance between making stuff and networking. Often I fluctuate in preference between one and the other. Over

So, I’ve finally gone and done a bit of teaching. I have finally imparted whatever remnants of wisdom I have onto others, which they can apply to their own artistic endeavours. How did it go? Well, rather bloody well actually. And I am very grateful to Cupola Gallery for their hospitality and for thinking that a paint making workshop was a good idea in the first place. My paint-making workshop in action! My workshop seems to be pretty solid ‘straight out of the box,’ with onl

My latest work signifies something of a breakthrough in terms of what a jar of paint can depict: A degree of subjection is instantly attached to the contents of each jar. They no longer represent paint; they represent the essence of paint. Four Jars of Memory The properties of food have still been exploited in order to achieve the paint. But rather than describing the face value of the paint, labels have been attached that describe metaphorical and experiential attachment to

Yesterday I endured the acquaintance of an extremely heavy, cumbersome and joyless piece of apparatus commonly known as a ‘camera.’ As some of you know, I have been asked to produce over twenty images of jars of home-made paint for a forthcoming exhibition at Forum Cafe, Sheffield. Whilst I am delighted at this prospect, it has also enabled me to ponder the virtue of photography as a means to communicate. Paint Jars: Part of an exhibition to be displayed at Forum Cafe, Sheffi

in January, armed with a multitude of ideas and a copious supply of acrylic paint, I moved to Sheffield. Seven months later, and I can say with some authority that it is the best thing I ever did. Indeed, a word of advice to emerging artists struggling to find a voice in their current environment – move. If you move, everything is instantly brand new, exciting and engaging. You are removed from the confines and comfort of your previous situation and develop professionally as

There have been a few whisperings reaching me of late suggesting that it might be bloody lovely if I shared a few of my techniques with regard to the process of making paints. Well, guess what? because I’m an unstoppably wonderful young man, I have now gone and included a basic guide to making paints out of food on my Facebook page! Can you believe my generosity? You can view said guide by clicking on the link below: https://www.facebook.com/media/set/?set=a.559867370721627.1

Over the last week or so I have been concerned with the identity of painting. Specifically, I have been thinking about how the practice of painting can be deemed irrelevant if the paint itself contains enough conceptual prowess. This post really acts as a steam of initial thoughts towards a more refined idea of how paint and painting can be perceived. Well, there goes… Painting no longer has to exist on a surface. Indeed, when applied to a surface, paint becomes condemned – F

What exactly is a cup of tea? It’s a bloody good question, I’m sure you’ll agree, and one that perhaps art is able to explain: Or at least enable us to explain it for ourselves. As an object, tea is one of the most universal recognisable consumable products out there. And as such, is open to an almost limitless degree of subjectivity.  It contains within it the broadest of subjects – from ancient Chinese mythology to accessible domestic consumption, and from being cited in me

Why paint making should be for everyone. Teaching. It’s a concept I have entertained since watching my year 7 art teacher painstakingly render an accurate yet grossly unnecessary drawing of a dentist’s chair and thinking ‘pfft, I could well easily do that.’ Not that I could draw a dentist’s chair with the same precision as him. In fact, in hindsight, the guy was probably a frustrated yet brilliant designer. But, even as an 11 year old, I did think briefly that the idea of tea

Leaving food alone for a bit to think about trees instead. Landscape. It’s a subject that – like still-life – can be given a bit of a kick up the arse in order to allow it to become relevant in the 21st Century. If we take into account my incessant desire to progress and embrace new artistic direction, it seems appropriate that a departure from food can emerge in the shape of re-considering landscape. So winter is (Finally) beginning to recede, buds are tentatively emerging f

I love to criticise and bitch. It fills part of my moral conscious probably technically reserved for, I don’t know, being able to tolerate children. Problems with this, however, arise when reflecting upon my own practice: I am never fully satisfied with my work because I always seek to criticise my rate of conceptual progression. Upon completing a piece of work, the first thoughts that enter my mind are ‘well, ok, I’ve done that, what can I do now to further the idea? What’s

I’ve made some lovely jars of paint. Now what? I have now been living in Sheffield for over two months and, frankly, I think I’m doing rather ruddy well. I have secured a house and a studio space. I am critically engaged with an increasingly intriguing aspect of my artistic practice, I have another job that allows me to purchase art materials and pay the bills, and most significantly of all, I’ve got myself two bloody lovely bedside cabinets made from old apple crates. If I r

How can art made from food be made relevant? A simple Google search of art and food conjures up so many insipid images of landscapes moulded from vegetables you’d be forgiven for thinking you’ve stepped in to a six years olds’ re-imagining of Emmerdale Farm. And whilst it is endlessly fascinating that cauliflower looks a bit like the wool of a sheep I believe a more conceptual approach to the very notion of food can produce art with a more coherent and informed spiritual prow