If you're an artist, what kind of art do you make?
Alexandra Edmonds was born October 1st, 1983 in Prince Rupert, British Columbia. She mostly grew up in the Nicola Valley and Okanagan Valley. She attended UBC Okanagan and recieved her BFA in 2009, when she was also nominated for the BMO Competition. She currently resides in Kelowna with hopes of pursuing her MFA.
In the future, she hopes to continue her investigation of female iconography. Some of the artists from which Edmonds draws inspiration from are Peter Doig, Merlin Carpenter and Marlene Dumas. Ideas for future avenues of exploration are to investigate female erotica within paintings whilst still maintaining a sense of power and entitlement, perhaps with more contemporary sources. Edmonds plans to be sending proposals for shows with her body of work “Pinups of history (currently 6 completed, 6 in process) while working on a new body of work.
After a 6 month exchange to L’Ecole Superieure des Beaux Arts in Paris, Edmonds knows how beneficial travel and exposure to contemporary artists can be to her own art practice. She hopes to broaden her artistic horizons in a cultural art center and have the available connections and opportunities for future shows and exhibitions.
About my artwork
Using archival imagery and popular culture, I am painting a series entitled “Pinups of History,'' featuring twenty-first century fox actresses from the late 1940s posing as historical icons. My source materials are found archival newspaper clippings featuring various glamourous actresses posing as powerful female historical icons. By translating photographic images from 1940s onto an abstract ground, I am integrating history and it’s relationship to female iconography. Through critical appropriation or painterly strategies, my paintings feature graphic representation of glamourous women placed over an incongruous background. The women in these portraits are powerful, engaging or confronting the viewer with their gaze. There is nothing submissive or weak about these women, they claim their presence within their pictorial and theoretical space. I am interested in the notion of the “male gaze". In the series "Pinups of History” female perspective is employed. Although glamourous and beautiful, these women aren’t posing themselves as objects, they are claiming their power with their sexuality and presence. I purposefully choose to have these figures somewhat undone, the idea of glamour dissipating into allusion. Within my work, I like to allow paint to flow like an accident with careful contemplation. The translucency of the characters within my paintings reflects this tactic.
My previous work was a series of family portraits that heighten the emotional interplay of figures within a space. My source materials for this series were family photographs from the 1970s and 1980s from which I convey the emotional undertones inherent in these images into my painting. Through the elimination of certain areas using gesso, I use this subtractive technique to delineate negative space in a way that allows the figures in my paintings to breathe and radiate within their space. I hope to heighten the viewer’s emotional experience by placing my figures in an enigmatic space. I was interested in how capturing atmosphere making everyday scenes seem emotionally charged. I am playing with various painting techniques and mood to draw the viewer into an experience. The painting “Wedding Day” was a pivotal piece for the direction of my work. In this painting, a dialogue was created between the characters, creating a tense atmosphere for the viewer. The expression and gaze of the woman communicates a sense of unease and discontent. “Boyfriend Yesterday” heavily influenced my family portrait series. The energetic atmosphere surrounding the couple portrayed creates a glowing aura around the central figures. This dreamlike fog establishes the sense of nostalgia and memory. Within this body of work, I am hoping to capture a candid snapshot of a moment with an undertone of disharmony.
In the future, I hope to continue my investigation of female iconography. Some of the artists from which I draw inspiration are Peter Doig, Merlin Carpenter and Marlene Dumas. Ideas for future avenues of exploration I have are to investigate female erotica within paintings whilst still maintaining a sense of power and entitlement, perhaps with more contemporary sources. I plan to be sending proposals for shows with my body of work “Pinups of history (currently 6 completed, 6 in process) while working on a new body of work.
We at STUDENTS would like to invite you to join our community of PADDERS at THE PAD. It is a brand new social platform for the arts brought to you by STUDENTSzine. Within a couple of weeks we have grown internationally from a group of 2 to c. 300. We would also love to see you there, so come on join 'The People of The Pad' :) www.studentspad.com
IT IS FREE & YOU DON'T NEED TO BE A STUDENT
STUDENTSzine is a new Irish Contemporary Art Magazine. Our first issue is available to download at www.studentszine.com it features some well established artists such as Brian Hand and Salome Voegelin and has received well over 1,500 downloads to date.
THE PAD is a social platform for the arts developed by STUDENTSzine at www.studentspad.com If you're on STUDENTSpad you have the opportunity of Being featured in future issues of STUDENTSzine as a PICK OF THE PAD artist.