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Artist of the Month, October 2008
Tim Edwards
Last Light #4, 2007
Wheel cut blown glass, 13" x 24" x 5"
Click on the small images below to enlarge.
| Born in South Australia, Tim Edwards is best known for his simple, hand-blown and wheel-carved glass forms. Often shown in pairs, these sculptural vessels act as canvas’s for asymmetrical fields of color and design. Both abstract and organic in form and composition, these pieces play with the viewer’s perception of negative and positive space while referencing patterns often found in nature. |
Edwards’ current process is one with much history dating back to Roman craftsmen. After blowing a vessel with several layers of colored glass, the artist selectively carves portions of the surface to reveal the desired exterior pattern. Traditionally, these “cold-working” techniques include intaglio (wheel-cutting into or below the surface) and relief (projecting above the surface). |
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According to writer and critic Robin Rice, Edwards’ “approach and the viewers experience in works like these interestingly parallel 20th century color-field abstractionists like Mark Rothko and Morris Lewis, who both stained or painted on unprimed canvas as a way or merging color with a surface.”
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| Rice also notes a strong landscape reference in Edwards’ work that “could easily suggest Georgia O’Keefe’s paintings of the American Southwest. Her landscape does, in fact, share many features with the landscape of Edwards’s native Australia.” |
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| Originally trained as a ceramicist, Edwards has worked as a self employed glass artist since 1997. During the 1990’s, he served as the Associate Designer of ceramics, and then glass, at the Jam Factory in Adelaide, AU. His work has been exhibited at SOFA Chicago, The Institute of Science and Arts in Venice Italy, The Mitukoshi International Glass Art Festival in Taiwan, and many more internationally known institutions. Edwards is also the recipient of the 2006 Rakow Commission from the Corning Museum of Glass in New York. |
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Edwards says:
'My glass work is inspired by the landscape, the play of positive and negative space and simple, often overlooked, familiar things. I use the vessel because I like its tradition in glass and the familiar associations people have with it. |
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| Mostly I work with flattened blown shapes because of this interesting blurring that happens between the 2-dimensional and 3-dimensional. |
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I have become increasingly interested in the way light defines and moves through objects and the spaces between.' |
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For the artist's resumé, click here (Adobe Acrobat pdf format)
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We are grateful to Wexler Gallery, Philadelphia, for providing the materials for the Artist of the Month.
The Artist of the Month for November has not been selected. Materials will be provided by Thomas R. Riley Galleries.
Click here to return to Artists Of The Month index.
last updated on 18 September 2008.
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