Ry David Bradley’s recent works blur the lines between painting, photography, digital printing and touch-sensitive computer screens. His two-sided paintings NTBD #6, #13, #4 and #12, all 2015, present archival images from the New York Public Library’s Picture Collection that have undergone a computerised editing process before being printed onto synthetic suede using a dyetransfer technique. Informed by the interplay of mobile photography, digital abstraction and the bitmap structure of pixelated image file formats, Bradley confers art historical significance onto the aesthetics of the internet as a logical development in the painterly canon. Noting his desire to interrogate ‘the relationship between images and paintings, particularly images that are derived from the network’, Bradley’s works bring together the virtual and the ‘archaically’ physical to elicit an interplay between materiality and immateriality.The resulting paintings problematise notions of image preservation and cultural heritage, proposing the possibility of alternative interpretations of our collective inheritance. Bradley completed a Master of Fine Art at the Victorian College of the Arts, Melbourne, in 2013.