Bradford White Fiske

Contact Information

Phone: (215) 869-0575

Studio & Gallery

108 Arch Street, 801, Philadelphia, PA 19106

Please contact artist for purchases, commissions, etc.




Black Yellow White

Nothing Gold Can Stay


Archived Material

Materials (of Architecture)

Reflections on Tragedy

Reflections on Tragedy: The preciousness of “gold”, aluminum, or copper leaf is degraded by added and subtracted color to leave a distressed representation. Paintings that do not portray, but are determined by, awareness of the innumerable tragedies with which one is confronted.


French and American Poetry: Metal leaf surfaces define the boundaries within which aspects of the identified poetry including: decadence, eroticism, despair,and adoration, are expressed in thrown and drizzled paint and pigments.

Artist's Biography

Bradford White Fiske has a BA with a major in philosophy from Goddard College, and a M.Arch from the Yale School of Architecture.

In the early 1970’s he focused on painting and drawing and had worked included in shows at DeCordova Museum, and galleries in Massachusetts, Vermont, and California.

He stopped painting to study and practice architecture. His recognition includes: FAIA, Fellow of the American Institute of Architecture. Gold Medals, Honor Awards, Merit Awards: American Institute of Architecture Philadelphia, Pennsylvania Society of Architecture, Boston Society of Architecture, AIA New England, AIA New Jersey, AIA Virginia, AIA Washington DC, AIA North Carolina, AIA Maryland, AIA Colorado, AIA National, etc. International practice, presentations, publications, and recognition.

He left architecture in order to paint in early 2015. In 2017 he exhibited in a two-person show at Revolvd Gallery in Philadelphia. From 2017 through 2019 he has exhibited thirty-eight individual shows in the storefront windows of 108 Arch Street, Philadelphia. In July of 2019, there is a solo exhibition at the Archer Law gallery in Philadelphia.

Artist's Statement

I view art as a process that to me is more important than its result. I paint in order to provide a dialogue with myself, which hopefully transmogrifies into a conversation with others within which there is no room for me.

My paintings are responses to context, but the environments to which they respond (the paper, canvas, wood, or metal) change with each additional application of material or movement.

I often define edges to not only contain the work but also to provide a juxtaposition between rigidity (reality) and chance (everything else).

I am a firm advocate of willful determination, but cherish the unknown properties of uninformed exploration, and the incorporation of non-traditional materials: steel, iron, copper, aluminum, and potassium dichromate, among others, offer additional, highly mutable, characteristics as pigments.