New Show Announced: Women in Colour: Group Exhibition

26 April - 15 June 2019

Based upon original research by artist and independent scholar Ellen Carey, the exhibition Women in Colour: Anna Atkins, Colour Photography and Those Struck by Light reexamines the role of women artists in colour photography. The group exhibition at Galerie Miranda  will present selected works from 15 major European and American artists from the 1950s until today.

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Confirmed participating artists include 

Susan Derges
Ellen Carey
Chloe Sells
Jo Bradford
Meaghann Riepenhoff
Mariah Robertson
Merry Alpern
Elinor Carucci
Sandy Skoglund
Claire Aho
Patty Carroll
JO ANN Callis
sally gall
Brea SOuders
Nancy Wilson-Pajic

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Opening hours

Tuesday – Friday 12am – 7pm
Saturday 10am – 6pm or by appointmentLocation

Galerie Miranda
21 rue du Château d’Eau, 75010 Paris – France
Tel: +33 1 40 38 36 53
Métro station République (lignes 3, 5, 8, 9, 11)


April 19th 2019



In March last year, Eyestorm released the first three works in a new series by British artist, Jo Bradford, titled ‘Portals’. This series illustrates the development of Bradford’s camera-less photographic technique - a continuing refinement of her unique self-taught method. Today, we are excited to be introducing Portals: Orange, the fourth edition of the Portals series, which furthers Bradford’s exploration of pure colour through subverted photographic methods.

Jo Bradford’s current artistic practice is the result of many years experimenting in her photographic darkroom with the technical and chemical processes of making analogue photographs, eventually developing a unique method of capturing light on chemically sensitised paper that allows her to create photos without the use of a camera or digital intervention - known as Luminograms.

Her work has been driven by a desire to perfect this technique, initially using it to explore figurative images such as landscapes, but overtime focussing in on her primary interest - colour:

“I am always hyper aware of colour in everyday life. I feel like my consciousness is stimulated by colours coming at me from every angle.” - Jo Bradford

Today Bradford’s work can be described as non-objective - spectacular luminous images where the subject is colour, and the medium, light.


As seen in the previous releases Autogenesis and Continuum, Bradford is especially interested in exploring colours that she believes have been ‘left in the shadows’ - the minor colours of the spectrum, or those that sit in-between the primary colours of the rainbow. In Portals, Bradford concentrates this study on a particular colour of interest - turquoise, which she feels should have had a primary role in the naming of the rainbow hues. Portals explores the range of tones available in this colour from the lighter end of the scale, right through to the darker shades - revealing the simple way in which hues can be altered by nothing more than the intensity of the colour.

Alongside works that specifically use shades of turquoise - for example her previously released Portals: Teal - in this series, Bradford has produced complementary images which explore the way opposing hues can affect the perception of colours when seen together. In today’s print release Portals: Orange, Bradford uses an intense orange tone from the opposite side of the spectrum to turquoise. When put side by side with Portals: Teal, we can see a subtle shift in the way the hues appear in this juxtaposition, as opposed to how they appear on their own. The blues are much cooler, the oranges hotter, and the dark areas appear deeper and more intense. There is a push and pull between the opposing shades of teal and the bright sharp orange hues, creating a visible contrast between seeing these images as individual works, and side by side. This effect is not incidental, as Bradford carefully selects hues that will work with the series in its entirety, as well as individual artworks in themselves. She is asking us to consider our own observation of colour, revealing it as not a constant, but a continuous shift of perception.

Bradford’s obsession with colour has been influenced by some of the great colour field and light artist of the 20th Century. Like the abstract expressionist Mark Rothko and Josef Albers, Bradford presents her works as flat abstract colour planes, eliminating references to any object, and instead focussing the viewers on appreciating colour in its purest form.


Perhaps an even closer comparison is the way in which Bradford creates her colours and shapes from light - much like the ‘Skyscapes’ and ‘Light Tunnels’ of the great light artist, James Turrell. Like Turrell, Bradford is ‘painting with light’, exploring our perception of light and colour through the juxtaposition and comparison of different shades and hues - demonstrating the subtle shifts and changes that are always occurring.

However, unlike such light artists who work with installations, Bradford’s Luminograms allow the work to be trapped on paper, to be taken home and appreciated on a more personal scale. And unlike the colour field artists whose medium is paint, Bradford’s colour work appears in a transparent layer of chemistry on a white sheet of paper. In this way, the colour application does not dim the purity of the white behind it, as happens when paint pigment is applied to a white background. Instead, the colour in Bradford’s work is recorded in its purest form - within light.

You can find Portals: Orange and the other pieces in the ‘Portal’ series on Jo Bradford’s artist page here.



 NFP Editions, a collaboration between the Tate, The Royal Academy and Field Editions presents work by artists such as Rachel Whiteread, Susan Derges, Luc Tuymans and many more including the last few in the edition of Bradford’s work “Eidos” at Expo Chicago this week. Booth 411 on Navy Pier until Sunday


Jo Bradford | 'Portals' | New Photographic Editions

This weekend Eyestorm are excited to release three new photographic print editions from Bradford's latest series 'Portals' - a continuation of the artist's meditation on colour and their endless combinations, as well as representing the refined development of her unique camera-less technique

Creating her print editions without a camera through a specialised technique shaped from several years of study, research, and experimentation, Bradford’s works are not only a celebration of colour, but of her knowledge and her process itself.

Since 2016 Eyestorm have had the pleasure of collaborating with Jo Bradford and releasing three successful series; 'Autogenesis', 'Elements' and 'Continuum'.

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The full article about the new series 'Portals', can be read here.

Eyestorm is excited to announce a new print release from British-born Jo Bradford. Following the release of her 2016 edition ‘Autogenesis’, and more recent 2017 ‘Elements’ and ‘Continuum’ series, Eyestorm now present the first three prints in Bradford’s newest series, Portals - and to celebrate their release, we take a closer look at the unique and fascinating process that Bradford has developed and perfected over her 15 years of practice. 

by Tessa Yee 

The lights go off, and as she is plunged into complete darkness, artist Bradford begins her work. Committed to her memory are a series of complicated and precise actions and numbers required to create her unique camera-less photographs. Each step in Bradford’s process must be exact in order for her final print to be perfect. If she forgets part of the sequence, losses concentration, or if she doesn’t move her masks with real precision, then she must start it all over again. It is the beginning of a long and challenging process to produce Bradford’s unique ‘luminograms’. 

Obsessed by colours all around her, Jo Bradford eliminates references to figuration in her work in order to focus on her central interest and fascination with colour, and its endless combinations. Always collecting vintage colour charts, textile cut-offs, books on colour, colour chips and charts, and with a sizeable library on colour theory, optics, art, and design - colour and light is constantly on Bradford’s mind. 

It is perhaps ironic then, that the artist’s camera-less photographic prints are created in total darkness. Enclosed within her darkroom, Bradford must work in a black void, unable to allow any excess light from the outside world to penetrate her studio, and ruin the print process. She may work blindly, but she does so with accuracy and precision, knowing exactly where her tools and materials are, and what her next step should be. As viewers, we can appreciate the beautiful results of Bradford’s work, but perhaps an even greater appreciation can be had when understanding the extensive thought and technique that lies behind them. 

Before even entering her darkroom, Bradford has carefully thought-out and planned her objectives for the print she is creating. Having considered the exact colours and gradients she wants to create, and carefully hand-cutting her masks that will cover and uncover areas of the paper for exposure, Bradford also keeps thorough notes, and sketches to inform exactly how she wishes the resulting print to be - all of which must of course then be meticulously committed to memory. 

When she steps into her darkroom Bradford forgets the outside world, focussing her mind, and concentrating only on a long sequence of actions and numbers that will take her through the exposure timings and filter settings for each gradient she wishes to reveal. It is a mentally exhausting and impressive process that Bradford has developed through years of research and experimentation. Even still, it can take between 5 and 30 attempts with each one taking over an hour to produce, to get just one luminogram exactly right. 

Bradford’s newest series for Eyestorm, Portals represents a continued refinement of the artist’s luminogram technique. Once again Bradford presents colour as both her medium and subject, and as in her previous Eyestorm editions, we can appreciate how she is able to successfully create such subtle changes in gradient, that the shifts from one hue to another are at an almost invisible level - where one colour starts and another ends, is impossible to tell. 

Notably, Portals also represents a slight departure from her previously pure abstract series, as the works contain a subtle reference to something literal (indicative in their title). The seemingly abstract rectangles in these works suddenly have a reference to the figurative, which Bradford describes as doorways - 

‘’This comes very simply from the first experience I have of light as I return to the real world outside of my darkroom…I had on some level used the rectangular lines and shapes in these works to mimic or refer to the light and shade found in a room illuminated by a doorway to a sunlit space.’’ 

Once we understand the complexity of Bradford’s technical process, we can only imagine the sensations that must wash over the artist each time she lifts herself out of her state of concentration in her darkroom, opening the door into the light of the world outside, and revealing the brilliant colours of her finished prints. Portals not only marks a subtle departure from purely non-figurative art, but also reveals how the artist’s personal experience of print-making, has fed directly back into her works - giving viewers a unique glimpse into her world. 

The three new pieces titled, Portals TealPortals Carmine and Portals Chartreuse are available from £795.00 and can be found on Jo Bradford’s artist page here.



Field Editions are showing Eidos on their stand at NADA NYC from the 8th - 11th March.


There are just the last few of this edition available now.

The NEW ART DEALERS ALLIANCE (NADA) its the definitive organisation in the cultivation, support and advancement of new voices in contemporary art.

You will find it at Field Editions at Booth 2:15 at Skylight Clarkson Square, 550 Washington Street, New York, NY 10014

The Fair is open until Sunday


Bradford's Eidos is at NADA Miami with Field Editions & Camden Arts Centre


Field Editions are showing Jo Bradford’s Luminogram, Eidos, on their stand at NADA Miami this weekend.
The edition is selling out fast with less than half of it available now.
Also on the stand are works by Susan Derges,  Wolfgang Tillmans, Lisa Brice, Mark Wallinger and many more

The NADA MIAMIN BEACH Fair is open until Sunday, find Bradford’s work at Booth 8:11
Ice Palace Studios, 59NW 14th Street, Miami, Florida
10am - 7pm daily


This week's Investing in Art article gives an insight into Jo Bradford's innovative cameraless photography.


Read the full article here

Colours have always fascinated people, but few have devoted decades to understanding how they interact with each other, and even fewer have tried to portray rays of light on paper.
Jo Bradford is a self-proclaimed colourist who traps and documents colours at her studio in Devon, England, using a practice referred to as cameraless photography .

Since her debut print series titled 'Autogenesis' launched in 2016, Jo Bradford is the most successful new artist represented by Eyestorm' in the past years. First exhibited in London in 2016, her colourful and energetic series of work has excited both collectors and photography enthusiasts.

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Last month her latest work 'Continuum' was released in London and New York and has instantly become an almost iconic edition. The series of six pieces explores the relatively unknown colours that lie in-between the main colours of the rainbow.

This week's article on 'Investing in Art' gives an insight into Jo Bradford's work; through her striving for perfection and her passion for the exploration of colour, to creating beautiful and intriguing pieces of art.

Jo Bradford has gained a sterling reputation in the art world for a very unusual and specialist art practice; experimental cameraless photography.
She works with ‘alternative’ modes of photography where she doesn’t utilise any conventional equipment, lenses, or mechanised apparatus.  In an age increasingly defined by technology, her approach is fundamental and pioneering in how we view and experience the intangible.

From her darkroom on Dartmoor in Devonshire, this precisionist, recorder of light and self-proclaimed colourist, successfully traps and documents the colours present in rays of light. She directs beaming colour to light-sensitive paper during fleeting exposures made in the pitch black and has honed her cameraless practice over a career spanning two decades. With a Masters (Distinction) in the Critical Practice of photography, her work celebrates photography in its most simple and rudimentary form albeit via a highly intricate process of creation.

Jo Bradford’s inspiration is colour theory and geometric abstraction which has roots in the lessons of Josef Albers who famously noted ‘there is no difference between science and art when it comes to creativeness’. Bradford’s photograms nod to Albers as they are nonfigurative rather than representational of any given object and draw on the laws of physics as well as art for their inception.  In Bradford’s work with the prismatic colours contained within light that aren’t visible to the naked eye until ‘captured’ onto photographic paper, Her goal is to reveal the inner glow of the colour spectrum. The glorious hues achieved in Bradford’s work as well as the honesty of the technique have helped this artist become Eyestorm’s most successful newcomer since her debut with us in 2016.

The methodology behind the hues, intense saturations and graduations of colour in her work is brilliantly comprehensive and not at all straightforward in practice. In fact the visual simplicity and clarity of Bradford’s works almost contradicts the complex process in which they’ve been created. To take the medium of light as the working practice and the subject of the work takes a steady hand, an intuitive sense of how long exposures should be as well as immeasurable patience and experience. The technique alone is a unique show of honed skill and dexterous flair as masks are placed where the light should not reach and make its mark on the paper during each distinct exposure period. By hand, Bradford will gently peel away these masks at various intervals in time which gives the distinctive graduation and merging of colour that has become so typical of her work, as well as the sharp delineations that strike through the compositions like visual accents. Processing the images with a very particular set of chemical formulae and light-sensitive emulsions follows, in combinations which are continuously tweaked and adjusted.

Bradford is always seeking to perfect her working methods in order to gain the upmost purity and luminosity of light, and her feat with the completion of her first exclusive series with Eyestorm, Autogenesis, has been a huge accomplishment for the artist. Autogenesis are among the most successful editions of 2016 and in 15 distinct hues and a small run of 15 editions, their breadth and colour-range covers more than double that of the standard rainbow spectrum. The series has been widely collected internationally. These painstakingly-made works bring the worlds of art and physics together and can be collected as a full set or individually. To own them is to partake in the artist’s mission to retain visual documentation of rich prismatic colour, for posterity, for the future, as much as for now.

First exhibited in London, in March 2017 and then at an art fair in New York two weeks later, Continuum is a series of 6 works which develop on from Autogenesis, by recording the colours of the rainbow that lie in-between the main colour bands. Between emerald green and turquoise blue lies Continuum Verdigris and between turquoise and cobalt blue lies Continuum Cerulean, and so on. When placed in the desired order, each work contains a colour that is an exact hue of one in the adjacent work and a special paper has been utilised for this series which has light-reflective metallic and pearl mica embedded in its surface, to really show off the shimmering vibrancy and tonality in the work. In its larger format to Autogenesis, the Continuum series has been exceptionally well received by collectors who appreciate its bold presence and who’ve helped some shades to sell by almost half within the space of two months. The energetic and positive work regularly features as the most popular work on the Arts Trends page and has been the fastest-selling series of 2017.

Camera-less photography is an art form that when created well, shows experience, deftness and persistence and we believe Jo Bradford is on a path which will establish her among the most skilled in her field. Her dedication, attention to detail and ability to achieve perfect execution are all evidence of her staying power in the art world. Her two stunning series with our gallery are not only pleasing on the eye but also have such strong conceptual credibility and her approach is recognised in the numerous accolades and awards already under her belt, including Arts Council England’s Creative Development Award and a Grants for the Arts Award, 2016.

Josef Albers - Sunny Side Up

Managed to find time on my London trip to see the Josef Albers show that was in town at David Zwirner gallery.  Quite a treat for a die-hard fan like me.

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Eyestorm is showing Jo Bradford's Autogenesis at the Londin Art fair this week.

Jo will be there on Thursday. You can find Autogenesis on their booth (G27) alongside works by Henrik Simonsen, Jacky Tsai and Sophie Smallhorn


New work underway in the darkroom

Work is well underway on my new series.  I am planning to create 6 new cameraless photographs, continuing my exploration of the hue continuum and prismatic colour. I spent the last three months of 2016 sketching, reading and making copious notes. By December it was time to put some chemistry in the tanks and let the alchemical wonder of the darkroom take over my life. After a painfully slow and difficult start, where my chemistry and stencils just wouldn't do what I wanted them to, and after several trips back to the drawing board to perfect my masks, my ideas are finally being realised, perseverance is key in my line of work!  

Lutyens Launch Party

We had a party in London to launch the three Elements works for Sir Terence Conran and Peter Prescott's Wine Bar, Lutyens, last night.

Jo Bradford in front of the Elements Series at Lutyens Wine Bar, June 2016.

Jo Bradford in front of the Elements Series at Lutyens Wine Bar, June 2016.

Jo Bradford (right) with Angie Davey, Eyestorm's Creative Director 

Jo Bradford (right) with Angie Davey, Eyestorm's Creative Director 

New commission for Sir Terence Conran and Peter Prescott's wine bar, Lutyens.

I was commissioned by Eyestorm to create new cameraless photographs for Sir Terence Conran and Peter Prescott’s wine bar and restaurant, Lutyens, on Fleet Street in London in May 2016.  The work is on display at Lutyens Wine Bar, 85 Fleet Street until May 2017, along with previous works, Autogenesis and Lensless Molecular.

The compositions feature circles that were produced by shining light through glasses of Conran & Prescott’s Albion Wines to create the coloured orbs in the final pieces. The opposite colours are captured onto light sensitive paper in a completely dark room. Subjecting the paper to a process of chemical baths develops the latent image and fixes it for permanence.  The geometric lines and compositions are inspired by the modernist, art deco era architecture of the building, which was designed by the great British Architect, Edwin Lutyens in the 1930’s. The artworks are available to buy from Eyestorm

Autogenesis is in New York at the Affordable Art FaiR

If you are in New York this weekend then you can see my new work, 15 cameraless photographs, exhibited at the Eyestorm stand at the Affordable Art Fair New York, in the Chelsea District of Manhattan. Show is open from the 28th April to the 1st May 2016