EVERYBODY’S PERFECT

BRADLEY HARMS

SEPT 26 - DEC 5, 2026

"The paintings ask to be encountered the way you'd happen upon something half remembered from childhood,
familiar in the hand before it's understood by the eye, something you'd want to hold before you'd want to explain."
- Bradley Harms
LOS ANGELES, CA. Royale Projects is pleased to present Everybody's Perfect, a new body of work by Bradley
Harms, on view from September 26 through December 5, 2026.
For decades, Harms has stood at the forefront of Canadian abstraction, producing paintings defined by mechanical
conviction: surfaces built with the discipline of a machine, edges refined and exacted, forms that borrowed openly
from the tropes of digital art. Everybody's Perfect marks a deliberate break from that practice. In its place, Harms
turns to the processes of the home, cutting, dyeing, ironing, sewing, stuffing, methods long coded as domestic, to
build paintings that resist the very perfection his earlier work pursued.
The results occupy an uncertain territory between serious abstract painting and familiar domestic objects. A canvas
might recall a stuffed toy, or a well used sleeping bag, something remembered from childhood and returned in an
unfamiliar form. Softened edges, irregular seams, and sculptural folds let the work behave less like a window and
more like a thing encountered in the world: built, handled, lived with.
Underlying the shift is the question of what remains distinctly human in an era when image making technology has
effectively co-opted perfection itself. Harms answers with intuition over consistency, and the intelligence of the hand
over the certainty of the machine. The work shares something with metamodernism in this respect, an acceptance of
postmodern doubt and deconstruction paired with a plain willingness to care, create, and hope anyway. Harms leans
into the instability of painting and builds around it, making objects that acknowledge how contingent the medium has
become while still betting on what it can do.
ABOUT THE ARTIST
Bradley Harms was born in 1970 in Winnipeg and lives and works in Vancouver, Calgary, and Los Angeles. He
received his BFA from the University of Calgary in 1996 and his MFA from the School of the Art Institute of Chicago in
2004. He has exhibited extensively throughout Canada and internationally, including in Chicago, New York, San
Francisco, Miami, Munich, Sydney, Singapore, and Tokyo, with further exhibitions across North America and Europe.
His work is held in numerous public collections, including the Canada Council Art Bank (Ottawa, ON), the Alberta
Foundation for the Arts (Edmonton, AB), the Nickle Arts Museum (Calgary, AB), the University of Western Sydney
(Sydney, Australia), Foreign Affairs and International Trade Canada (Ottawa, ON), and the Glenbow Museum
(Calgary, AB).
ABOUT ROYALE PROJECTS
Royale Projects was founded in 2008 in Indian Wells, in California's Coachella Valley, and opened its Los Angeles
Arts District flagship in 2015. The program is built on the continuing advancement of abstraction in painting and
sculpture, particularly on the West Coast, and on artists working at the forefront of Conceptualism and phenomenal
art focused on sensory experience and perception. Early on, the gallery championed Helen Pashgian, a founding
figure of the Light and Space movement, exhibited Dennis Oppenheim's last new work before his 2011 death, and
produced Phillip K. Smith III's career defining 'Lucid Stead' in Joshua Tree. The LA space debuted with a thirty year
survey of Ken Lum, participated in the Getty's Pacific Standard Time: LA/LA with new work by Ruben Ortiz Torres,
and introduced, at Frieze New York, previously unseen 1960s paintings from the Estate of Clinton Hill, now
considered an important voice in American abstraction. Most recently, the gallery produced a site-specific exhibition
of new work by sculptor Nathan Mabry at the historic Hotel Bel-Air.
432 South Alameda Street Los Angeles CA 90013 l 213.595.5182 | info@royaleprojects.com | www.royaleprojects.com