1990’s
'One of Godwin Bradbeer’s achievements is to have taken sex out of the tawdry fairground to which pop culture had consigned it, and to have defiantly restored it to the temple... Bradbeer gives back to sexuality the sense of mysterious, sacred beauty it had for the late romantics, complete with the sense of melancholy reflection that that implies, yet with little hint of the sentimentality and idealism that clouded the nineteenth century vision … It's as if Bradbeer is constantly having to bring into check his natural propensity for voluptuousness. He makes a point of always seeing through things … thus undermining any easy identification with physical beauty and foiling the scent of narcissism that otherwise might overwhelm everything'.
Peter Timms
'The Age' 1998
'I had always felt it was my responsibility as an artist to address the darkness as well as the light.
By 1992 I was the the father of three children and I did not want my art to appear unrelentingly melancholic. Instinctively I felt compelled to retrieve a sense of innocence and recover an unapologetic beauty in my work. Nevertheless, this was no swing of the pendulum, my changes are very slow … more like the slow turn of an ocean liner'.
G.B. in interview with O.B. 2019
1990 Imitation of Light, David Ellis Fine Art, Melbourne.
1992 An Illustrators Lullaby, David Ellis Fine Art, Melbourne.
1993 The Human Abstract, Lyall Burton Gallery, Melbourne.
1994 Empirical Paintings, RMIT Faculty Gallery, Melbourne.
1995 Disegno Interno, BMG Art, Adelaide.
1995 Fear of Painting, Lyall Burton Gallery, Melbourne.
1998 Man of Errors, Lyall Burton Gallery, Melbourne.
1998 Facsimile, (with Warren Breninger), RMIT Project Space, Melbourne.
1999 Imago, John Batten Gallery, Hong Kong.
1999 – 2000 Apologia, Bulle Galleries, Melbourne
Godwin Bradbeer