Reasons Lost To Time Painting

Drawing from real-life textures and images, Edward is artistically influenced by abstract expressionism. Walking on the streets of New York City stimulates him - he finds inspiration in the disparate imagery of the streets, the way that high and low crowd up next to each other and overlap. “I have a high regard for the overlooked, discarded and forgotten,” he explains. Edward’s process is driven by his materials. Determining the scale and building the frame leads to selecting the fabric and stretching it by hand. He works with different weight linens , which provide a substantial foundation and also lay down the first layer of texture. This initial process helps coalesce the multitude of ideas, memories, and tactile objects that have inspired him into a vision. He applies acrylic paint to his canvas both intentionally and instinctually using a variety of tools (but rarely a paintbrush). Dozens of layers later, the work morphs and begins to take on new forms. Assessing the maturing work leads to final touches and a growing sense of excitement at the understanding that the piece is finished. His chromatic combinations and high texture topographies are simultaneously stimulating and calming. He thinks of them as territories, with several distinct regions that overlap and interact. His unique aesthetic pulls off a tricky balance; often appearing monochromatic at first, his paintings have hidden depth and texture, and reward the engaged viewer in ways that only grow over time. His pieces always enhance the energy of the spaces they inhabit. “I’m not limited by my last painting - quite the opposite,” Edward says. “Each work is a jumping off point that leads to the next. As a profoundly curious person, my aesthetic is continuously evolving along with my interests.”