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Ever since we returned from NYC in June last year, Paul‘s been hard at work preparing for his show Tone, opening this Thursday at the newly re-dubbed Stevenson Gallery (previously Michael Stevenson).

I never use that word ‘humbling’, as I’m not really sure what people mean by it, but I kind of feel like using it when I describe my husband’s work and his work process, because it’s amazing to me that this normal bloke I live with has these vast capacities at his disposal that I don’t really understand at all. Whereas I find my a great deal of my motivation in all the encouragement I get from my blog, shops, and the general healthy state of my business, Paul is one of those rare humans who is able to simply work because that is what he does. It’s not about deadlines or expectations or financial reward, but just about the work. And the work is beautiful.

I never say ‘respect’ either, but I’m saying it now.

Pitch – linocut

For Tone, Paul’s been working with the idea of music elements and relationships, and this is what he says about it:

“From elements which are often non-narrative, mostly repetitive and largely abstract, we extract or assemble meaningful experience. In a series of pencil drawings, a linocut and two sculptures, using only line and its sculptural analogue, edge, I explore visual and metaphorical correspondents for music and sound, and their constituent parts.
Like music, the works reward and thwart expectations, as overlaid lines and stacked edges produce tone, timbre, volume and contrast. The works and their various elements evince attack and decay, echo and reverberation, harmony and dissonance.”

Working within this framework, he’s produced three series of intensely time-consuming and carefully-made pencil drawings, called Tone, Pitch and Field, as well as a large format linocut (above) and two sculptures. See all the work at the Stevenson website.

From the Tone series

From the Pitch series

 

From the Field series

Visit Paul Edmunds’ website to see more of his work, and the Stevenson website for more about this show.

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Last week Thursday really should have been spent in NYC, sipping warm wine at a MoMA opening, trying not to look too awfully thrilled to bits at the fact that my bloke currently has one of his works gracing the walls of said illustrious institution. Paul’s large format linocut The Same, But Different (below) is part of the Impressions from South Africa, 1965 to now exhibition, curated by Judith B. Hecker.

The show is on in the Paul J. Sachs Prints and Illustrated Books Galleries until 14 August, along with prints by other SA artists, such as Bitterkomix, Kudzanai Chiurai, Sandile Goje, William Kentridge, Senzeni Marasela, John Muafangejo, Claudette Schreuders and Sue Williamson.

Read a review of the show in ArtDaily here. Aw heck, this doesn’t happen every day, so I’m just going to go ahead and quote the bit where they mention my bloke:

The final theme of the exhibition encompasses postapartheid works in various techniques and formats. Installed throughout all the sections of the exhibition, and shown in concentration in the last gallery, many of these works revitalize earlier techniques or use them as a point of conceptual departure. One such development has been with the linocut, as artists new to the medium experiment with its graphic potential in unconventional ways, as seen in sculptor Paul Edmunds’s first linocut The same but different (2001), a single uninterrupted bright red line that undulates across a sheet of paper six feet high. The work’s pulsating composition, which emphasizes method rather than narrative, is a hypnotic meditation on the physical, time-based process of incising.

We’ll be in NYC in September again, for Paul’s upcoming solo show at RH Gallery.

My studio tends to be a bit mile-a-minute, with emails coming in, parcels going out, fabric being cut, meetings being held – it’s all a bit mad, most of the time. Paul‘s, on the other hand, is a quiet space, where the soft whirr and crush of a pencil sharpener is just about all there is to hear.

He’s preparing for a new solo show on 18 April, and the pic below shows what he’s using to make the pencil drawings he’ll be showing at Michael Stevenson Contemporary on 18 April. Click here for a preview and press release, and click here to see more of my clever husband’s work.

Paul Edmunds, husband o’ mine, won’t be sitting in his studio chair enjoying the winter sunshine this week, cos he set off for New York yesterday, the lucky bum!

Go say hi to Paul on Saturday, when the show at RH Gallery opens. It’s at 137 Duane Street, TriBeCa, between West Broadway and Church.

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