'Scheema Paintings', 2012
Enamel on Giclee Print
“On the relationship of the formal and conceptual in my work: the formal comes before the conceptual but is intrinsically connected to it. The formal leads to the conceptual. A work is considered/began/approached in terms of the formal. Through an investigation of the formal the conceptual arises.” – Sean Edwards. The suite of new text paintings investigate the studio-based activity of the artist. They operate both formally as monochromes with attention taken to the application of paint, and conceptually through the partly visible text printed upon the painting base surfaces. Reading the text we follow repetitive actions and activities, which can be associated with an artist’s studio practice, an application of paint, the addition of one sculptural component to another... These actions described in the partially obliterated texts are from observations of pre-school children, each intently rooted on their small incidental activities, seemingly unimportant and inconsequential, but ultimately intricate in the child’s understanding of the world and their position place and control within it. Seen alongside each other Edwards’ incidental sculptures, drawings and paintings all seem to point to this understanding of the delicacy between control and the incidental, and the delicacy of the playful. Of what is expected and what ultimately becomes a surprise.