ARTIST:

Mark Bradford

Mark Bradford
The Devil is Beating his Wife, 2003
Billboard paper, photomechanical reproductions, permanent-wave end papers, stencils, and additional mixed media on plywood
335.3 x 609.6 cm

Mark Bradford’s abstractions unite high art and popular culture as unorthodox tableaux of unequivocal beauty. Working in both paint and collage, Bradford incorporates elements from his daily life into his canvases: remnants of found posters and billboards, graffitied stencils and logos, and hairdresser’s permanent endpapers he’s collected from his other profession as a stylist. In The Devil is Beating His Wife, Bradford consolidates all these materials into a pixelised eruption of cultural cross-referencing. Built up on plywood in sensuous layers ranging from silky and skin-like to oily and singed, Bradford offers abstraction with an urban flair that’s explosively contemporary.

Mark Bradford
Kryptonite, 2006
Mixed media,collage on paper
249 x 301 cm

Using collage and paint on paper, Mark Bradford’s Kryptonite possesses an organic quality in its grid-like composition. Its convoluted architecture and overlapping details radiate as a megalopolissprawl, a seething microcosm of activity. Often compared to Piet Mondrian, Bradford gives modernism’s vision of an ordered utopia a lethal reality check as hard-edged borders and harmonious planes are exchanged for independent non-defined forms engaging
in unruly turf-war. Evolving his surface as a highly textured topography, Bradford uses gesture and mark-making to encapsulate the dissonance and excitement of a metropolitan landscape.

Mark Bradford
White Painting, 2009
Mixed media, collage on canvas
259 x 366 cm

Mark Bradford’s abstractions unite high art and popular culture as unorthodox tableaux of unequivocal beauty. Working in both paint and collage, Bradford incorporates elements from daily life into his canvases such as remnants of found posters and billboards and hairdresser’s permanent endpapers. In White Painting, Bradford uses paper exclusively to replicate the effect of paint. Scratching and sanding through the layers to reveal strata of colours and embedded
images, his palimpsest surface draws connotations to both abstract expressionism and street art, recontextualising the sublime traditions of high art with an urban flair that’s explosively
contemporary.
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Thursday, 26 November 2020: COVID-19 / CORONAVIRUS UPDATE:

Following the UK Government’s latest announcement placing London in Tier 2, Saatchi Gallery will re-open from Wednesday, 9 December 2020. We will re-open with our free entry Ground Floor exhibitions (Philip Colbert: Lobsteropolis and Antisocial Isolation) from December 9. The new dates for our next headline exhibition JR: Chronicles will be announced shortly.

Government guidelines on health and safety measures will remain in effect, including social distancing within a one-way system in our galleries, the provision of hand sanitising stations, and the wearing of face coverings by visitors and staff. All visitors are encouraged to pre-book their tickets prior to entry.

We look forward to welcoming you back soon.