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Imperfect Grid (open sides), 2015
Bradley Harms
Hand applied acrylic on raw canvas
72 X 54 in.

Bradley Harms
Hardy Marbles
May 9 - June 8, 2013

Winsor Gallery is pleased to present Hardy Marbles, a solo exhibition of painting by Bradley Harms.

While Harms’ works exude a sense of technological awareness, they are simultaneously seductive and alchemical in ways that only paintings can be. In his unique hybridization of styles, Harms references digital tropes by creating elaborate systems entirely by hand. These painted structures vacillate between surface assertion and spatial invitation, and subsume the modernist impulse in their additive – as opposed to reductive – nature.

At their very core, Harms’ paintings explore the simplicity of relationships within a world whose reality rides on vast, complex tracts of both visible and invisible information. These are perfectionist works that extol imperfect formal and social realms. They are slick as well as sincere, diagrammatic as well as sensual, and are starkly self-conscious about their identity as abstract paintings. In approaching the art form from the paradox of these angles, Harms both works out of and makes reference to our world of multiplicities.











Imperfect Grid (open sides), 2015
Bradley Harms
Hand applied acrylic on raw canvas
72 X 54 in.

Bradley Harms: Halberds Army
September 10th- October 10th, 2015

Winsor Gallery is excited to announce the second comprehensive exhibition of abstract painter, Bradley Harms in Vancouver. A leader of the Canadian abstract movement, Harms has exhibited throughout Canada, as well as on the international stage – Chicago, New York, San Francisco, Miami, Munich, Sydney, Singapore and Tokyo. The exhibition entitled "Halberd’s Army” runs from September 10th – October 10th. An opening will be held on the evening of Thursday September 10th, from 6-8pm; Bradley Harms will be in attendance.

“To say that there is an attitude of confidence in Brad Harms’ paintings is on understatement. Certitude of form, color and finish verges on arrogance. Still his paintings compel the viewer, beckoning us into their dialectic tension, a volley between method and imagination, structure and illusion. Combining the look of digital image-making techniques with Constructivist, DeStijl and Op Art sensibilities, Harms’ paintings advance the language of abstraction to the far side of postmodernism. They are precise and clean. They are impeccably crafted. Their format and scale sets up juxtapositions between calculated design and pictorial composition. These paradoxical moves within Harms’ fixed vocabulary of color, form, figure and ground set the stage for the conceptual underpinnings of these seductive and intelligent paintings.”

Michelle Grabner, Co-curator of the 2014 Whitney Biennial