Paige Bradley is a contemporary award-winning American sculptor. She is an internationally acclaimed sculptor, known for some of the best contemporary figurative sculptures today. Artist’s subject matter is more of a journey within rather than an illustration of idealism. She believed that through the figure an artist could speak a universal language that is timeless and profound. She has made sculptures that challenge weight and space, creating some of the most remarkable contemporary bronze around today. But her work is so much more than what meets the eye; the spiritual and humanistic aspects captured within the form leave us thinking about our own journey and connections.
Paige Bradley exhibited her sculptures at international art fairs, museums and galleries, and received various awards for her achievements. At Point Park University in Pittsburgh, Pennsylvania; the Center for the Performing Arts in Tampa, Florida; Bundang Memorial Park in South Korea; and the Mellon Arts Center in Wallingford, Connecticut, her sculptures have been permanently installed. Among her collectors are celebrities, corporations, universities, and private individuals.
Born in Carmel, California Paige Bradley knew she would be an artist by the age of nine. Immersed in nature and art, Bradley's fascination with the human figure began early. She believed that through the figure, an artist could speak a universal language that is timeless and essential.
Paige Bradley started drawing from the nude model by the age of ten and by fifteen was studying intensely at university campuses during the summer months. Knowing that she was naturally a sculptor, at seventeen she had cast her first bronze sculpture.
Educated at Pepperdine University, Paige spent a year in Florence, Italy.
She went on to continue her education at the prestigious Pennsylvania Academy of Fine Arts, where she furthered her sculpture education and learned to paint and print in several different mediums.
In 1995 she was assistant sculptor on a monument for the Atlanta Olympic Games, by 2001, she was voted into the National Sculpture Society as a professional sculptor, as well as CLWAC and The Salmagundi Club. In 2006 one of her sculptures was selected and made into a prestigious international award for young dancers. It is now awarded only on an annual basis, at various venues, across the globe.
Paige Bradley has several national solo shows, and her work can be seen in galleries representing her work across the US. In 2004 she moved her studio from California to New York, where she currently works full time.
Paige’s work is full of dichotomies; both the beautiful and the ugly, the liberated and the contained, the falling and the floating. She is always in control of form, but not imprisoned by its literality. The subject matter becomes the most important; not narrowly feminist, but rather humanistic betrayals of modern emotion. Paige’s work is becoming a valuable keystone for the missing figure in contemporary art. Only in her early thirties, Paige Bradley’s talent and artistic achievements have already gained her much notoriety.
Born in Carmel, California Paige Bradley knew she would be an artist by the age of nine. Immersed in nature and art, Bradley's fascination with the human figure began early. She believed that through the figure, an artist could speak a universal language that is timeless and essential.
Paige Bradley started drawing from the nude model by the age of ten and by fifteen was studying intensely at university campuses during the summer months. Knowing that she was naturally a sculptor, at seventeen she had cast her first bronze sculpture.
Educated at Pepperdine University, Paige spent a year in Florence, Italy.
She went on to continue her education at the prestigious Pennsylvania Academy of Fine Arts, where she furthered her sculpture education and learned to paint and print in several different mediums.
In 1995 she was assistant sculptor on a monument for the Atlanta Olympic Games, by 2001, she was voted into the National Sculpture Society as a professional sculptor, as well as CLWAC and The Salmagundi Club. In 2006 one of her sculptures was selected and made into a prestigious international award for young dancers. It is now awarded only on an annual basis, at various venues, across the globe.
Paige Bradley has several national solo shows, and her work can be seen in galleries representing her work across the US. In 2004 she moved her studio from California to New York, where she currently works full time.
Paige’s work is full of dichotomies; both the beautiful and the ugly, the liberated and the contained, the falling and the floating. She is always in control of form, but not imprisoned by its literality. The subject matter becomes the most important; not narrowly feminist, but rather humanistic betrayals of modern emotion. Paige’s work is becoming a valuable keystone for the missing figure in contemporary art. Only in her early thirties, Paige Bradley’s talent and artistic achievements have already gained her much notoriety.
Focusing on tensions and liberations in my work, I feel most of our emotions are locked into an existential cocoon. My sculptures show the human race as a singular individual, searching for connection, but finding only alienation.
My recent work has become a symbol of struggle; both being contained and liberating ourselves from self-inflicted boundaries. Fears of ostracism, avoiding distinction and hiding from greatness are all thoughts that come to mind, creating these wrapped sculptures in extraordinary tension. The figures struggle to unveil themselves in order to become understood and known. It gives me a sense of unrest as if too much life is jammed into too restrictive of spaces. I feel as if I am trying to live my truth free and unveiled in a society who would rather keep us contained.
From the moment we are born, the world tends to have a container already built for us to fit inside: A social security number, a gender, a race, a profession, an I.Q. I ponder if we are more defined by the container we are in, than what we are inside. Would we recognize ourselves if we could expand beyond our bodies? To be authentically ‘un-contained’ would we still be able to exist?
I attempt to expand my sculptures beyond the human flesh of the figure and create the brilliance within us. Simultaneously, I cannot help but to see a dangerous dichotomy between falling apart and expanding beyond our limitations. When devastation becomes deliverance, then ashes from the past can become the foundations of the future.
Solo:
2007
Azali Fine Art Solo Show, Laguna Beach, CA
Classic Art Gallery, Celebrating a Decade with Paige Bradley, Carmel, CA
2006
Classic Art Gallery Solo Show, Carmel, CA
Forest Avenue Fine Art, Solo Show, Laguna Beach, CA
2005
Classic Art Gallery Solo Show, Carmel, CA
Louis Aronow Gallery Solo Show, San Francisco, CA
2004
Classic Art Gallery Solo Show, Carmel, CA
Forest Avenue Fine Art, Solo Show, Laguna Beach, CA
GROUP EXHIBITIONS
2006
International Assemblage Artist Exhibit, Gallery 24, Berlin, Germany
Contemporary Sculpture Exhibition, Chesterwood Museum Stockbridge, MA
Elected Members Invitational, National Sculpture Society, New York City, NY
93rd Annual Exhibition Allied Artists of America, New York City, NY
2005
92nd Annual Exhibition Allied Artists of America, New York City, NY
D.U.M.B.O. Art Under the Bridge Festival, Brooklyn, NY
‘International Figurative Competition and Show’, Gallery International, Baltimore, Maryland
“Expressions of Figure and Form”, Galerie du Soleil, Naples, Florida
2004
91st Annual Exhibition, Allied Artists of America, National Arts Club, New York, NY
Pen and Brush Exhibition, Leonard Meiselman Memorial Award, New York
Catherine Lorillard Wolfe Art Show, National Arts Club, New York
2003
Contemporary Sculpture at Chesterwood, Stockbridge, MA
Viselaya Figurative Sculpture Competition, Concord MA
Women Artists of the West, Third Place, Dubois, WY
