‘Originally from Örebro, Sweden, artist Tobias Bradford now splits his time between Stockholm and London. His work examines the gray areas that exist amid reality and illusion. Not only does he craft animated sculptural installations, but these creations also give the illusion of acting on their own. His pieces generate a tension between rational thinking and emotional response, unsettling our belief in self-agency.
‘Bradford finds intrigue in the nuances of mechanical sounds. For him, the unpredictable hum of a refrigerator fan can almost sound like a coded message. This fascination also extends to the body’s involuntary actions, which he sees as parallel to mechanical repetition. By incorporating these ideas, Bradford adds layers of complexity to his work.
‘Drawing inspiration from his own childhood, Bradford also explores the concept of ‘childhood animism.’ This is a phase where the lines between people and objects are blurred. This theme allows him to blend elements of both horror and comedy into his installations. His creations often evoke a sense of nostalgia while highlighting the absurdity and limitations inherent in human life.
‘With these added layers of meaning, Bradford’s work serves as a deep dive into the complexities of human experience, framed through the lens of technology and mechanics.’ — 0 -> 1
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Further
Tobias Bradford Site
Tobias Bradford @ instagram
TB @ Facebook
TB @ Saskia Neuman Gallery
TB @ 0 -> 1 Gallery
Mechanical Turks
Noise Sculpture
INTERVJU TOBIAS BRADFORD
https://boingboing.net/2023/01/12/the-boundary-breaking-animated-sculptures-of-tobias-bradford.html
Revenge of the Uncanny
This Wagging Tongue In A Museum Has Everyone Making The Same Joke
No hay productos en el carrito. 0 Carrito Buscar buscar TOBIAS BRADFORD: LA ABULIA QUE SOÑÓ BUÑUEL
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Extras
INTERVIEW WITH TOBIAS BRADFORD
Tobias Bradford Introduces ‘Stage Fright’
heka | monkey (Official Music Video in collaboration with Tobias Bradford)
works by tobias bradford
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Interview
Caroline Elgh Klingborg: You work with sculptural moving installations where you examine the relationship between the body and the machine. What is it in the meeting that’s so exciting?
Tobias Bradford: For me, the excitement of making machines as art is to be able to figuratively create something that’s alive. I think that modern machines have an ability to be difficult to interpret. The sound of a refrigerator fan buzzing in an unpredictable way has a mystery to it that could just as easily be an attempt at communication. This is exactly what brings to mind life, even if it’s subtle, and it’s something I try to portray in my sculptures. The mechanical nature of eternal repetition is also interesting in relation to the body. I myself have several neurotic features that I don’t really have control over, such as “restless leg syndrome” and that I frantically pick on my own hair until it falls off. The idea of not having control over one’s own body – the organic machine – becomes both existential and absurd.
CEK: What does your work in the studio look like and how does a new work begin?
TB: It’s very various. In my studio, I often have the works switched on while I work, and during the process new relationships arise between the works that in turn give rise to ideas. I spend a lot of time looking at my own sculptures, analysing their behaviours in relation to the room and in relation to each other. Sometimes I get a spontaneous idea for a work that’s completely beyond my ability, and a large part of the process is spent carving out the core of that idea and taking it on to a point where the whole thing becomes realizable. I often try to assume the role of a fictitious professor or inventor à la Frankenstein when I work – and it usually works!
CEK: Your sculptures are self-propelled mechanical images where emotions such as fear, joy and longing are mixed. How do you go about creating sculptures that unite these extremes?
TB: Since I started making art, I’ve constantly returned to memories of emotional experiences from childhood, and they can be both unpleasant and amazing. I think a lot about so- called “childhood animism”, that is, the stage in development where you don’t separate people from objects yet. In general, we outgrow that image, but in the face of something unexpected – like an amputated leg kicking around on the floor – childhood animism can suddenly remind itself again. I don’t make sculptures with the purpose of them depicting, for example, horror, but I think it’s exciting that they more or less inevitably carry that theme. The idea of being put in an absurd situation often gives the comic impression. The longing and sadness may come from the fact that the sculptures often become caricatures of the limitations of one’s own body, something that we’re constantly trying to bridge with the help of technology.
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Show
Too Much, 2022
Spillage (releasing forever), 2022
Nosedive, 2022
The Softness, 2022
Big Hole, 2022
As My Eyes Adjust 1, 2022
As My Eyes Adjust 2, 2022
It Never Stops, 2019-2022
Immeasurable Thirst, 2021
Stage Fright, 2021
Detachment, 2020
Me Eating, 2020
Nervous energy/As my eyes adjust, 2019
Restless, 2019
Nonono (ajabaja), 2019
Compulsive, 2018
Ethereal vessel, 2018
Me as a repeating disturbance, 2018
Emergence, 2018
Arrival, 2017
Watch me go (away), 2017
Extensive recordings of all my previous lives until now, 2016
A drawing machine built from a deconstructed duck toy. Each drawing represents one full battery life of the machine.
The Beauty, 2016
Mechanical sculpture wherein a wig is continually brushed.
Trespasser, 2015
Device for tired hands, 2015
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p.s. Hey. ** Dominik, Hi!!! Ditto on the thoughts, but I’m also determined to forge ahead and fight with whatever talents I’ve got. Rolling over for it is the worst option, you know what I mean? Any light in your life today? I’m gonna find some in my world by the veritable hook or crook. Love making Tobias Bradford collaborate with my friends and me on our hopeful haunted house, G. ** jay, My pleasure, natch. I’m particularly into that Canadian guy using tiny excavation equipment to reconstruct his basement for some reason. Me too. Harry sounds like a plus, yes. Reeling, for sure, but hopefully steadying on both of our ends. ** _Black_Acrylic, Hi, Ben. I think I’m finally ready to be whisked away from everything by your musical machinations. That’s interesting: for some reason I was really disappointed by ‘Rubber Anne’, but I’m not thoroughly sure why. Rethinking it maybe. ** Misanthrope, Aw, thanks. Where was that hotel? I stayed a similar kind of joint on the Lower East Side. Pricey but convenient. Oh, jesus, about David. Dude seems like he might need one of those ‘dump a bad boy in the middle of nowhere with just a box of matches’ kind of forced survival kind of wake up call-type experience. Or not, but something drastic. ** Steve, I hear you, but do everything you can to nix the numbness. That’s what Trump and co. are counting on. ** Lucas, Hey, L. I’m okay. I’m entering the ‘you won’t get away with that’ kind of mindset. Awesome, yes, that Beckett trilogy is great, for sure. And, yes, impactful on one’s thinking about writing. I think it smacked my writing around in a helpful way back when I read it. Never worry about being overly influenced. You have a strong voice. The most it’ll do is give you ideas about how to improve it. I’m feeling more positive, albeit maybe undeservedly, but hey, and I’m making my positivity such as it is airborne and pointing it at you. ** Uday, Hi. Yeah, me too. I’m seeing and reading all the despair and thinking, ‘No, stay awake!’ I’ve never been to Charleston, but the name and rep radiates charm to the unknowing, or to me at least. Enjoy and blow minds, which I’m sure you’ll do without even trying. ** Right. I recently discovered the young artist up there, and I’m kind of really into his sort of punk Charles Ray meets home haunt animatronic prop aesthetic, and maybe you will be too? See you tomorrow.
Now available in North America 
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Hi!!
I couldn’t agree more. There’s not much we can do about this pathetic outcome, but we can definitely choose how to respond to it. (And we’re fortunate enough to be at least physically removed from the main shitstorm…)
Actually, that light in my life might be the discovery of Tobias Bradford’s work. I’ve never heard of him, and I really, really like the above introduction! Major thank you! Are you really considering reaching out to him once the haunted house idea solidifies?
Love acting before thinking, Od.
Hi Den, wow Tobias Bradford’s work is incredible!! thanks for the intro. he would be a sick ally for a haunted house project for sure. i’ll give it a think in regards to the gif work and let you know when i know which i’d most like to show:) i actually got one of my money applications for the show approved! it’s not a ton of money, but it’s a real godsend, and feels really great.
i saw a great show recently (at the gallery where i’m exhibiting) that reminded me of you, and of crowd a little bit, called ‘tragedy’ by louis schou-hansen. it was a durational performance,
here’s a little about it and a trailer link. it was the last show before mine, i’m gonna have a residency at the gallery starting in a couple of weeks and until my opening in january. i had a little movie night at my place this weekend, we watched ‘the draughtsman’s contract’ which was incredible. i also recently saw a horror movie i really really loved called red rooms, have you seen it? you might have, it’s french and came out last year, but i only recently found a download.
how was your day, obvious shock and horror aside? tell me all about it? love k