Rebecca Bradley integrates paintings with large scale installation work and utilises found objects scavenged from defunct sites.   Her work is a way of recording a history of events, but far from being a depressing representation of decline it is imbued with a sense of excitement for the possibility of change and the expectation of what may lie around the next corner.’

Review of Meanwhile, by Judt Fisher in The Thin Air, 2017

Hers is no Romantic sensibility of unchanging, eternal natural spectacle. As well as commemorating the work of remembering, the operations she carries out on the field of the painting (some of which are gentle, coaxing, others of which represent much more aggressive interventions onto the canvas) invoke the acts of reshaping and re-making to which the landscape— a construct framed from its inception by and through a human perspective— is and always has been subject.’

‘These are paintings that deserve to be viewed close-up and sidelong, so that we are reminded why it is that people still do and should and need to paint.’

Sarah Hayden, excerpts from talk delivered on the occasion of the opening of Provisional View Exhibition, September 9th 2015

‘She uses found materials such as foxed paper and faded postcards to make quietly restrained paintings of gentle decay. The results at first seem muted and spare, almost minimal, but also present an absorbing investigation into the transitions between two and three dimensional spaces, using shallow relief, recession and torn, frayed layers.’

Sarah Kelleher review of Rebecca’s work in Outbox, Paper Visual Art Journal, 2013

Outstanding textural paintings based on landscape’

Aidan Dunne, chief art critic of the Irish Times, Review of Rebecca’s work, June 2007