Using minimalism for its associations with high modernism, as well as for its legacy in the form of Ikea reproducibility, Bradley’s canvases proudly assert their objecthood as well as their ‘easy assemble’ irony. His simplified painterly lexicon brings together associations of mass media: tv test patterns, arcade graphics, and commercial logos, under his own brand of ‘slacker’ aesthetic. Through his retro-futuristic style, Bradley critically pokes fun at the commodification of art while simultaneously addressing the possibilities of contemporary painting.