Adrian Bradbury is an Image Maker, Artist, Photographer, Digital Artist.

He attended Goldsmiths in London followed by degree in Fine Art at West Surrey College of Art, and then a Post Grad Diploma in Photography. After which he quickly established himself in London as a freelance Fashion and Advertising Photographer working both here and abroad, with a large studio in the heart of Clerkenwell, London, for a wide range of clients : IPC Magazines, H Bauer, GE FABBRI, Boots, ASDA, M&S, Canon, House of Fraser and others.

The digital revolution saw his work take a new direction producing photo collage type illustrations for New York Stock Exchange, TNS, SOM(architects), Bausch&Lomb, Association of Teachers and Lecturers, Institute of Export, The Home Office, Open Roads and more.

Some years ago, I saw an exhibition of Bridget Riley’s work and was so impressed at the absolute precision of her prints that it inspired me to investigate this idea of precision and control in the images that I was beginning to make. Coming from a fine art background and working as a photographer which similarly required precision and control to create the image, I started using digital processing and manipulation of the images which allowed me to create something that is as I see it. My area of focus has, for some time now being about the Coast - sea and surf, rocks and waves and has provided me with a great deal to explore and interpret.

The current method of working that I am using involves drawings, often made on site, images of textures, colour notes and reference photographs from the time of day or location, and then these applied through the digital process. The application of the decision-making process is the same as in painting or silkscreen printing, yet with the advent of digital imaging techniques there is the possibility to explore deeper, bringing work into being through various steps and processes that combine digital and traditional techniques. The integrity of the work is paramount, nothing is there simply because it is a ‘nice effect’. It is about never letting the technology overpower, use it for the right reason, yes but also recognise it allows you to explore and experiment and then return to the fundamental questions, does it do what I want or does it work?  The colour relationships, marks and textures, are considered and deliberate, the technology is only the process in which the work is made, in other words it is about what the image is and not what is the vehicle which is important to recognise.

This is a new beginning for artists to explore and embrace just as in the 1840’s, on first seeing a photograph, French painter Paul Delaroche proclaimed, “From today, painting is dead!”

And of course, the answer is – no, painting and art just evolved.

I am interested in the re-presentation of the real through abstraction that allows for different interpretations to be made by the viewer. The root of the image may come from observation but equally it can also be a discourse between form, line and texture. The way in which the image is ordered, how all the elements are combined and arranged, clearly becomes the driving force.

Freelance Fashion and Advertising Photographer, LONDON 1978 -1998

Clients included:  M&S, House of Fraser, ASDA, Freemans, Dupont, Almay, Max Factor, EMI records, Stiff Records, IPC Magazines, Bauer Publishing, Gruner & Jahr, G E Fabbri, National Magazines, Condé Nast, EMAP and more.

Part Time Lecturer At Colchester Institute, BTEC PHOTOGRAPHY1979-1981

Part Time Lecturer Kent Institute 1981-1983, BA PHOTOGRAPHY

Part Time Lecturer At Falmouth College Of Arts, BA PHOTOGRAPHY 1991-1995

Freelance Digital Illustration And Graphic Designer 2000 – represented by Debut Art 2005-2012 and Advocate art from 2012-2017

Work for: NYSE, TNS, The Home Office, SOM architects, Agenda, Spirit, Loines Furnivall, Bausch & Lomb, Open Roads, Matalan, New York Graphic Society, and more.

Creating own personal work 1996 -  collages, photography, drawing and painting