The minimalist and achingly raw canvases of Joe Bradley in Like a Turkey Through Corn at Peres Projects feature stick figure renderings more likened to the hand of an elementary school student doodling on a notebook.  Bradley’s linear “figures” composed on stained monochrome beige panels with nothing but a grease pencil signal his awareness and thoughtfulness in the delineation of the thing itself- be it a human form characterized by a circle for the head, and lines for the body and limbs, an accentuated grin, or a reversed Superman logo.  For Bradley it seems that the artist represents the world not through the work displayed in the gallery, but what the representation signifies outside of the gallery.  This semiotic pairing is understood when considering that Like a Turkey Through Corn is part of Bradley’s new series “Schmagoo,” derived from the Beat-era street slang for heroin.  “Schmagoo” has a referent in the street culture and is also seen by Bradley as a “metaphor for the creative act.”