[3][4] As curator Caroline Collier has written, some of Bradley's early work "appeared to be singled out for attack by some reviewers", leading the artist to withdraw from the art world for a number of years.

[8][9] In 1999 Bradley was the first person to adapt American writer Kate Chopin’s banned novel ‘The Awakening’ for radio marking the centenary of its publication.

Many of her works draw from horticultural practices and structures (such as the glass house, the hop garden, the Dutch light, the espalier) as the basis for both its form and its exploration of the relationship between people and place.

[14] Her large-scale public works have been used as sites for performance, reflecting Bradley's belief in "sculpture as a potent gathering place of people and ideas.

Reviewing a 2010 exhibition in Art Monthly, critic Gill Hedley wrote that Bradley's work "brings the very personal alongside genuinely public projects".