Steve Bradley considers himself to be a trans-media artist or generalist. Weather he is working in photography, video, sound or installation/performance the underlying concerns are within the dichotomy of desire and material culture. Bradley explores the boundaries of urban and suburban culture by collecting debris, sound and images from the consumed and littered landscape around the globe. He converts systems of cultural iconography via media and technology into an analytical and satirical inter-mediated narrative. He has been conditioned by the media culture so print media, TV, radio, and the World Wide Web easily serves as his preferred mediated landscape. By digitizing, manipulating and re/digitizing the electronic images and sound of media, Bradley illustrates how "propaganda is to democracy what violence is to totalitarianism." 1 Noam Chomsky's admonition to those who attempt to analyze the methods and messages of public control speak to artists as well as political theorists.
 


"For those who stubbornly seek freedom, there can be no more urgent task than to come to understand the mechanisms and practices of indoctrination. These are easy to perceive in the totalitarian societies, much less so in the system of 'brain-washing under freedom' to which we are subjected and which all too often we serve as willing or unwitting instruments."

1 Noam Chomsky, The Manufacture of Consent
 
Bradley's own daily awareness of TV/print propaganda through image and script and what is not written or filmed is translated into art that speaks in the language of mass culture but offers "coverage" and interpretation that is erased or ignored in mainstream mediated culture. His objective is to share his outrage and sense of absurdity to affect some point of awareness in the vast network of the cultural sphere. By "naming" the codes of control, Bradley seeks empowerment for himself and his community so we can stay awake in the midst of the media’s pervasive anesthesia that numbs us to hear no evil, speaks no evil and see no evil.