Born in Carmel, California Paige Bradley knew she would be an artist by the age of nine. Immersed in nature and art, Bradley’s fascination with the human figure began early. She believed that through the figure an artist could speak a universal language that is timeless and essential.
Paige began drawing from the nude model by the age of ten and by fifteen was studying intensely at university campuses during the summer months. Knowing that she was naturally a sculptor, at seventeen she cast her first bronze.
Educated at Pepperdine University, Paige spent a year in Florence, Italy with the university’s study program. There she took classes at the Florence Academy of Art, which included art history. She went on to continue her education at the prestigious Pennsylvania Academy of Fine Arts, where she studied sculpture and learned to paint and print in several different mediums.
In 1995 Paige was assistant sculptor on a monument for the Atlanta Olympic Games. In 2001 she was voted into the National Sculpture Society, the Catherine Lorillard Wolfe Art Club and The Salmagundi Club as a professional sculptor. By 2006, her work was featured in over a dozen galleries, teaching masters workshops and being sought out for public and private commissions. At thirty years old, she already had a strong following of international collectors.
Annually, Paige Bradley has several exhibitions, and her work can be seen in select galleries throughout the world. In 2004 she moved her studio from California to New York City. In the spring of 2007 she moved to London, where she currently works full time.
Paige’s work is full of dichotomies: both the beautiful and the ugly, the liberated and the contained, the falling and the floating. She is always in control of form but not imprisoned by its literality. The subject matter becomes the most important – not narrowly feminist, but rather humanistic betrayals of modern emotion. Paige’s work is becoming a valuable keystone for the missing figure in contemporary art. In 2014, at her premiere gallery in Carmel, Paige exhibited over forty sculptures, several new drawings, and a signed catalog of works. It was her way of celebrating twenty years in sculpture, which most likely is just the beginning.