Victoria Bradbury
Chair and Associate Professor of New MediaContact Information
- vbradbur@unca.edu
- 255-7132
- 310 Owen Hall
Victoria Bradbury, Ph.D. is a new media artist weaving programming code, physical computing, body and object.
She is Associate Professor and Chair of New Media. Dr. Bradbury is a recipient of a $44,000 Epic MegaGrant to develop new research integrating physical computing with the Unreal Engine. With Suzy O'Hara, she co-edited Art Hack Practice: Critical Intersections of Art, Innovation and the Maker Movement (Routledge, 2019). Victoria has also published writing in Neural Magazine, the CITAR Journal, the Media-N Journal, and ISEA and xCoAx Proceedings.
Dr. Bradbury has been a member of the New Media Caucus Board of Directors since 2012 and served on the Media Arts Project Board and xCoAx Scientific Committee. She completed a practice-based PhD, "The Performativity of Code in Participatory New Media Artworks" with CRUMB at the University of Sunderland, UK, in 2015 and an MFA in Electronic Integrated with Alfred University in 2009.
She has led art hacking events and workshops including The City is The City (is The City) at Baltan Labs (Eindhoven, Netherlands, 2015), Thinking Digital Arts // Hack (Newcastle UK, 2014), and the Into Practice Book Sprint at Banner Repeater (London, UK). She was a member of the British Council team for Hack the Space, Tate Modern. (London UK, 2014) and participated in the IMMERSION: Art and Technology workshops (Shanghai, China, 2012) and Digital Media Labs (Barrow, UK, 2014). Her artworks have been exhibited at Revolve Gallery, Harvestworks, The Albright Knox, Hallwalls Gallery, The Front NOLA and The New Britain Museum of American Art. She lives in Asheville, North Carolina with her husband, two kids, Penny the Cat and a flock of chickens.
Artist Statement:
"Seeking new modes of making with time, I came to programmatic artworks as a way out of, then back into performativity. At the heart of my practice is a hands-on, experimental process that regards both analog and digital with equal weight and balance. Creating interactive installations led me to question how programmatic artworks that are void of a traditional stage-audience dichotomy can be considered performative."
"My participatory projects enact objects as nodes, broadening their relevance by centralizing them as tools to address wider ideas while exploring historical, social, or political systems. I have engaged this strategy while navigating the streets of Beijing in search of every Pizza Hut and while using sculptural proxies for accusers in two works that explore historic witch trials through interactive media."