"... draftswoman of scope and amazing detail ... just as remarkable as when she put hand to paper ... lusciously detailed ..."
Cate McQuaid, The Boston Globe, Friday, April 1, 2005, page D19
"Bradford's aspiration is simple: 'I would like to see digital drawing become as commonplace as writing in Microsoft word is for writers' ...."
Ed Symkus, The Brookline TAB, Thursday, June 26, 2003, page 19
"... the tradition of nineteenth-century transcendentalism ... much more than allusion in her noiseless and spiritually manifest landscapes ... a luminist aesthetic interpreted through ... finely textured surfaces and contemporary mien, reminds us that while we may still carry a pristine vision of nature in our hearts, recent years have removed it yet further from our grasp."
Robert Craven, Art New England, April/May 1993, page 62
" ... panoramic charcoal landscapes ... notable for their meticulous precision ... skilled photorealism ... filled with lovingly observed architectural and botanical detail ... bright, otherworldly light ... an ambience of solitude and strangeness prevails ... heightened realism ironically conjures supernatural forces ... suggest both menace and tranquility ... a heightened psychological edge." Nancy Stapen, The Boston Globe, April 18, 1991, page 69
"Aquatints of Whistlerian subtlety ... transmit exquisite twilights, moonlit skies, textures of night foliage shadows on white clapboard ... a study in black-and-white so adroit that, when you look at it out of the side of your eye, you're convinced there's color in it ...."
Marty Carlock, The Wayland-Weston Town Crier, April 11, 1991
"New England architecture and the landscape have inspired the latest body of work by ... a painter whose work can be so realistic it borders on the obsessive. Interested in gardening ... every plant is botanically correct ..."
Christine Temin, The Boston Globe: Calendar section: "Critic's Tip," March 28, 1991, page 22
"... excruciatingly lovely and precise stippled views of 'cultivated spaces' are at once realist landscapes and hymns to light in its many gradations ... always lush and sometimes eerie scenes, from which humans - who have cultivated these places - are noticeably missing.
Joanne Silver, The Boston Herald, May 5, 1989, page S21
" ... huge and uncompromisingly academic charcoal ... inspires awe ... worth every second of the trillion it must have cost the artist ... the chalk strokes mimicking foliage and stone as lovingly as did the painters of the Sung Dynasty."
Marty Carlock, The Lincoln Journal, Thursday, December 22, 1988, page 14
"... virtuosity is breathtaking ... technically awesome ... seem to hold secrets ... lush, exotic foliage has a life of its own which almost threatens the man-made structures ... a plunging, vertiginous bird's eye view of the mammoth structure controlling a rushing river: both subject, and the awesome drama ... suggest a scene right out of Polanski's film 'Chinatown ...'"
Christine Temin, The Boston Globe, December 2, 1982, page 61
Cate McQuaid, The Boston Globe, Friday, April 1, 2005, page D19
"Bradford's aspiration is simple: 'I would like to see digital drawing become as commonplace as writing in Microsoft word is for writers' ...."
Ed Symkus, The Brookline TAB, Thursday, June 26, 2003, page 19
"... the tradition of nineteenth-century transcendentalism ... much more than allusion in her noiseless and spiritually manifest landscapes ... a luminist aesthetic interpreted through ... finely textured surfaces and contemporary mien, reminds us that while we may still carry a pristine vision of nature in our hearts, recent years have removed it yet further from our grasp."
Robert Craven, Art New England, April/May 1993, page 62
" ... panoramic charcoal landscapes ... notable for their meticulous precision ... skilled photorealism ... filled with lovingly observed architectural and botanical detail ... bright, otherworldly light ... an ambience of solitude and strangeness prevails ... heightened realism ironically conjures supernatural forces ... suggest both menace and tranquility ... a heightened psychological edge." Nancy Stapen, The Boston Globe, April 18, 1991, page 69
"Aquatints of Whistlerian subtlety ... transmit exquisite twilights, moonlit skies, textures of night foliage shadows on white clapboard ... a study in black-and-white so adroit that, when you look at it out of the side of your eye, you're convinced there's color in it ...."
Marty Carlock, The Wayland-Weston Town Crier, April 11, 1991
"New England architecture and the landscape have inspired the latest body of work by ... a painter whose work can be so realistic it borders on the obsessive. Interested in gardening ... every plant is botanically correct ..."
Christine Temin, The Boston Globe: Calendar section: "Critic's Tip," March 28, 1991, page 22
"... excruciatingly lovely and precise stippled views of 'cultivated spaces' are at once realist landscapes and hymns to light in its many gradations ... always lush and sometimes eerie scenes, from which humans - who have cultivated these places - are noticeably missing.
Joanne Silver, The Boston Herald, May 5, 1989, page S21
" ... huge and uncompromisingly academic charcoal ... inspires awe ... worth every second of the trillion it must have cost the artist ... the chalk strokes mimicking foliage and stone as lovingly as did the painters of the Sung Dynasty."
Marty Carlock, The Lincoln Journal, Thursday, December 22, 1988, page 14
"... virtuosity is breathtaking ... technically awesome ... seem to hold secrets ... lush, exotic foliage has a life of its own which almost threatens the man-made structures ... a plunging, vertiginous bird's eye view of the mammoth structure controlling a rushing river: both subject, and the awesome drama ... suggest a scene right out of Polanski's film 'Chinatown ...'"
Christine Temin, The Boston Globe, December 2, 1982, page 61