Some examples of current work, and projects predating Edwin’s collaborative practice with Tracy Mackenna
Current work
Black & White Polaroid
Current photographic work, separate from Edwin’s collaborative practice with Tracy Mackenna, is the result of experimenting with artificial intelligence applications and instant photography using a new generation Polaroid camera and a Lab printer.
While allowing serendipity to play a major role, he utilises the space between digital control and the unpredictability of the instant developing process to make photographs of everyday objects, landscapes, found situations, exhibitions and the natural world.
Artworks, exhibitions and publications, prior to Edwin’s collaborative practice with Tracy Mackenna
Life
A twenty-seven metre long and three metre high wall-painting, with an accompanying publication, in the former CBK (Centrum Beeldende Kunst) in Rotterdam, the Netherlands. Enlarged Letraset images as used by graphic designers in the seventies (when the artist was in his teens), showed a range of social clichés.
De Zondeval / The Fall
An installation at the Stadsgalerij, Heerlen, the Netherlands with an accompanying publication, in which the connection between religious and artistic understandings of creation and creativity, gender roles and superficial preconceptions regarding the fall of men were playfully explored. During the opening visitors were offered a picnic on the artificial grass in the gallery space.
Theatrum Mundi I
In Praise of Folly (also translated as The Praise of Folly) by the Dutch polymath Erasmus of Rotterdam inspired this specially created installation for the Wiener Secession, Vienna, Austria which incorporated an actor playing the role of a jester. Part of Oppositionen und Schwesterfelder (1993), an exhibition curated by Sabine Vogel and accompanied by a publication.
Theatrum Mundi II
Five virtually identical flags incorporating illustrations by the artist Holbein for Erasmus of Rotterdam’s book The Praise of Folly were juxtaposed in the Rotondo at Museum Fridericianum, Kassel, Germany (1994), as part of the second manifestation of Oppositionen und Schwesterfelder.
Edwin’s work developed his interest in Erasmus of Rotterdam’s reflections on nationalism, national identity and chauvinism.
Narcissus and the Pool of Corruption
Edwin’s second major solo exhibition took place in Museum Boijmans Van Beuningen, Rotterdam, the Netherlands (1995). The installation combined paintings and sculptures from the museum’s collection with additional borrowed and copied artworks, photographs and photocopies that were presented using framing devices such as museum storage racks, pin boards and mirrors. The publication’s texts are by Hanneke de Man and Mieke Bal.
Diptychs
Zonder titel (Vogels), Museum Boijmans van Beuningen
Zonder titel (Babel)
Two in a series of five fibreglass diptychs that were produced in 1986 while Edwin was studying at De Ateliers (formerly known as Ateliers ’63). These works are part of a process that enabled Edwin to move from an abstract visual language to a figurative language.
Curatorial Project
Commitment
In 2002 Edwin curated a presentation of works and projects at Las Palmas warehouse, Rotterdam, the Netherlands. This brought together one hundred and twenty visual artists, designers and architects who work in the Netherlands and who were supported by the Foundation for Visual Art, Design and Architecture, Amsterdam (now part of Mondriaan Fonds) in the period 1999 – 2001.