Malcolm Bradley works predominantly in hydrographic print, a typically industrial process used on cars or motorbike parts. Working from an archive of personal or found imagery, this process alters the condition of the image, which becomes saturated, warped or blemished.

Despite their prosaic description, the images are abstracted and their objecthood seemingly at odds with his chosen source. It is because of this scrutiny – his search for understanding in the gaps of meaning – that Bradley can elicit a vocabulary for lived experiences that lie outside the boundaries of debate or explanation. The magnification of a single image now becomes a conquest not of what is seen or comprehended, but of what typically remains unseen and unknown. The result - works that bounce, between the natural and the supernatural; the physical and the spiritual.