Public and Private Commissions for YouTube, Warchild UK, Heal’s, Comme Des Garcons, Airnimal bikes, Cambridge United Football Club, Ace Hotel, Soho House, SmartLIFE, Jacuzzi, Eastern Pavilions, Chelsea and Westminster Hospital, Victoria and Albert Museum, UCLH Hospital, Artist Residence, London Art Fair, Unilever.
The British Museum Prints and Drawings Collection, The Unilever Collection, Hoxton Hotel Group, Soho House Group, AEA Investors LLC, UBS, The V & A, Kloster Bentlage Germany, University of Cambridge Kettle’s Yard, Ace Hotel, Addenbrookes Hospital Cambridge, Kolvenburg Billerbeck Germany, Los Angeles Natural History Museum, Boeing Asia, HBOS, Aberdeen Art Gallery, UCLH Arts NHS London, Courtauld Institute of the Arts East Wing, The De La Warr Pavilion Bexhill on Sea, The Royal College of Art, The BBC, Tony Blair’s office, Purdue University Indiana, University of Dundee, The Curwen Studio, Peacock Visual Arts, Norwich University College of the Arts, Louise Clarke, Norwich Castle Museum and Art Gallery, Chelsea and Westminster Health Charity, Imperial College Hospital Trust, Jo Brooks PR, Nuffield Trust Cambridge, The Aldeburgh Beach South Lookout Residency Archive, University of Hertfordshire, Debbie Harry, Jeremy Paxman, Charles Dunstone, Casey Neistat, Guy Chambers and various private collections across Asia, Europe and the United States.
Since graduating from the Royal College of Art in 2006, Bridgland has used a diverse range of materials and working methods to pursue an incisive and often witty exploration of distinctively British sentiments, externalising the underlying sense of loss and nostalgia that permeates our memories. Vignettes of British back-packer’s holidays, old-fashioned bus-tours, and childhood seaside breaks that figure strongly in his visual repertoire are often tinged with this feeling of time having passed too quickly, our memories gradually fading. Twinned with this however, is an upbeat celebration of themes distilled from children’s colouring books, paint-by-numbers kits, old public transport posters and kitsch postcards, which he imbues with the kaleidoscopic richness of carefully chosen and thickly applied primary colours. These everyday, almost mundane subjects are treated with the importance and status of emblems; centred in each work and often encapsulated within related text or target-like circular borders that focus our gaze.
Whether descriptive of change or constancy, Bridgland’s work keys into our desire to remember and relive, and plays upon our tendency to elevate our shared memories with the rose-tinted, wistful spectacles we don when thinking of the past, as well as the future. His depictions of identity and belonging, nostalgia and emotion give to his work a hugely personal aspect, and are influenced by a graphic and visual tradition that is quite specific to Britain. Yet his subtle combinations of image and related text play on everyone’s perceptions of shared occasions. Perhaps then it is the delicately précised power of the experiences he attempts to capture that make Bridgland’s work so accessible to all.
Text by Matthew Reeves, Independent Curator and Curator of East Wing Nine at the Courtauld Institute of the Arts.
Time Spent Together In Your Head, Jealous Gallery, London (solo).
Royal Academy Summer Show.
Contents of Your Excitement, Saffron Waldon (solo).
Splice Artist Residency, Old Street, London (solo).
We’re Still Good Friends, Curwen Gallery, London (solo).
We Came Here To Conquer, Norwich Castle, Norwich, Norfolk.
Turf Projects and Fungus Press, Reeves Corner, Croydon – collaboration with Lee Johnson.
Interesting Borings, CP+B London, York Way, London. (solo).
Artist Language Location (ALL), Kettle’s Yard, Cambridge (project with Lee Johnson).
Tiny Positives, BETC London, Rathbone Place, London, W1T (solo).
Darbyshire, White Lion Street, London, N1 (solo).
Fables, The Poetry Society, 22 Betterson Street, London, WC2H (solo).
Carousel, contemporary artists working in print curated by Adam Bridgland, aspex, Main Space, The Vulcan Building, Portsmouth.
Eastern Pavilions Print Portfolio, various locations, United Kingdom.
Circa, in collaboration with Peacock Visual Arts, various venues, in association with Impact 8 International Print Conference, Dundee, Scotland.
TREASURE, curated by Matthew Reeves, The Gallery @ Idea Store, Whitechapel, London (solo).
British Printmaking in Japan, Kyoto Municipal Museum of Art, Kyoto, Japan.
There’s A Story Here That Might Interest You, South Beach Lookout, Aldeburgh, Suffolk (solo).
Happy, All Smiles, Peacock Visual Arts, Castle Street, Aberdeen (solo).
Wellen, Kolvenburg, Billerbeck, Germany (solo).
RCA Degree Exhibition.