Vicky Edwards
About the artist
Paintings
Prints
About Vicky Edwards
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Biography
1985-6
Norwich School of Art
1987-90
Central St. Martin’s College of Art, BA Hons Fine Art (first class)
1990-92
Slade School of Fine Art, Postgraduate diploma in printmaking
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Vicky has shown in group shows internationally since 1989
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She has work held in the collections of – The Victoria and Albert Museum, University College London. Cohn and Wolf. Delta Films. 4AD / Vaughan Oliver and in private collections in the UK and abroad.
Publications
Dec 2005
Ham and High newspaper
April 2005
Ham and High newspaper
April 20th 1993
Independent newspaper
1993
British Artist’s Books – facing the page – pub. Estamp
Exhibitions - Gallery Guide Links
Exhibitions - Full Listings
2006
Crouch End Open Studios. London.
2006
Crouch End Library Gallery. London.
2005
Aspects of Print. Swiss Cottage. London.
2005
Crouch End Open Studios. London.
2005
John Jones Gallery. London.
2004
Brighton Art Fair.
2004
Printed on the Mind. Morley Gallery. London.
2002
Dusk til Dawn. Stephen Lawrence Gallery. London.
2002
Fresh Art. Business Design Centre. London.
2002
National Printmaking Exhibition. Mall Gallery. London.
1994
Printmaking Exhibition. Whiteley’s. London.
1993
Exhibition of Artist’s Books. Victoria and Albert Museum. London.
1993
Exhibition of Contemporary Art. Sotheby’s. London.
1992
Amadora Printmaking Biennale.
1992
Selected works. Drew Gallery. Canterbury.
1992
Bankside Open. London.
1991
Sunderland Open Exhibition.
1991
Janus Avison Gallery.London.
1991
University of Hawaii.
1991
United Nations Show.
1991
The Slade in Macau. China.
1990
Blenheim gallery. London.
1990
Tabernacle gallery. London.
1990
Tomorrow’s Artist’s Today. Osborne Gallery. London.
1989
Cohn and Wolf exhibition. Lethaby Gallery. London.
Collections
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Victoria and Albert Museum. University College London. Cohn and Wolf. Delta Films. Vaughan Oliver / 4AD. Various private collections internationally.
Statement
My recent work has become increasingly abstract and more symbolic, moving away from the directly figurative. My personal engagement with the work through the physical act of making is very important – the silent act of making and gesturing, being slow to manufacture through the etching process, a juxtaposition of process and chance.
I use grounds, aquatint, open bite and drypoint ,alongside scraping and polishing, to anchor my thoughts; trying to reflect a silent inner landscape of something frail and enduring through visual experimentation – using the images stillness and silence to elucidate what is within.
Current work includes etching, paintings on linen, ink on paper and the making of artist’s books.
