- About
- Bronwen Edwards
About Bronwen Edwards
My work explores a wide variety of themes and issues with an off–centre approach and a common thread of humour. My images are depicted through the medium of linocuts, screen prints and collagraphs. I studied intially in East Anglia, moving on to the University of Wales Institute, Cardiff, where I graduated in fine art printmaking in 1999. I currently live in Norfolk, exploring local themes through the print–making process and am exhibiting increasingly in the region, both individually and in group shows.
The story of my life and death
This again was a response to Lisa D’Onofrio’s poem. I thought it would be interesting to construct this image in 3D form using several different layers, including model-making, mono print and linocut. The poem is a sharp, short and rather defeated piece, and so this was mimicked by the words winding down to find the ending of the poem at the heart of the piece. The story of my life and death shows the worm in a 3D box frame, reminiscent of Victorian taxidermy, or pinned down as the butterfly that never was.
I've forgotten how to cook
I responded to this poem in much the same way as Trolley Trilogy. The image is a screen print, which depicts the celebration of the art of cooking by strong colour held within a dynamic swirl.
Trolley trilogy
The humour within Lisa’s poem and the celebration of a rather humdrum, overlooked domestic object – the shopping trolley – immediately struck me. I found the strong graphic look of linocut combined with the lively celebratory colours using screen print evoked the mood of the piece. The heart of the image leaves behind the orderly, laborious trolleys to emerge as joyful, exuberant objects, reminiscent of tying balloons to their handles and being told it’s ok to be empty.
Brekinupbrokendown
For Lisa's poem: brekin/up/broken/down
Basketcase
It was clear between Lisa and myself that the main image should be in the form of a basket, suggesting the title of the piece and encompassing many more links with mental breakdown. I imagined it to be monochrome and to be semi-transparent, open and vessel-like. The poem itself is displayed so that it can be read, but deciphering is hindered by the weaving of the words, scrambled in places and blank in others.
For M (who painted the bathroom floor blue)
This poem reveals a celebratory mood, an indulgent exuberance that evoked a highly rhythmical and humorous print in the form of a collagraph. I enjoyed collaborating on this piece and depicting its surreal qualities.