Edward Clydesdale Thomson Bio
wild care tame neglect Frankendael Foundation, Amsterdam, The Netherlands current
poster club Het Wilde Weten, Rotterdam, The Netherlands 2017
The Society Machine Malmo Konstmuseum, Malmo 2016
Static Gravity Het Wilde Weten, Rotterdam 2016
Crossing Borders Expanding Frontiers ramfoundation, Rotterdam, The Netherlands 2016
As the lake said to the boat Kunsthuis SYB, Beetsterzwaag, The Netherlands 2015
Nothin Shakin but the Leaves on the Trees Marabouparken konsthall, Sunsbyberg, Sweden 2015
Crooked Rain, Crooked Rain CCA Derry~Londonderry, Lismore Castle Arts St Carthage Hall 2015
Belief and Productivity: A Play in the Forest O&O funding, CBK, Rotterdam current
The Non Urban Garden: tuinen van de 21e eeuw Afdh & Kunstvereniging Diepenheim 2014
iaspis Open House, spring 2014 iaspis, Stockholm 2014
The Distracted Gardener & The Plumbing Subverter Yeo Workshop, Singapore 2013
Late Nights & Early Mornings Kunstraum, London 2013
25 Years Rotterdam City Collection Museum Boijmans van Beuningen, Rotterdam 2013
Here is always somewhere else Forum Triangulare, Oud-Rekem, Belgium 2013
Abilities Jeanine Hofland Contemporary Art, Amsterdam 2013
Lost & Found at the Flügelbus Lost & Found, Amsterdam 2013
causa finalis Galerie Fons Welters, Amsterdam 2012
As if an entrance is over there- Lecturis, Eindhoven 2012
Rijksakademie Open 2012 Rijksakademie van beeldende kunsten, Amsterdamm 2012
The research and destroy department of the Black Mountain College W139, Amsterdam 2012
We are rolling galerie-j, Geneva 2012
There was a Country where They were all Thieves Jeanine Hofland Contemporary Art, Amsterdam 2012
Secret Gardens TENT, Rotterda, 2012
FlowerCASTLE Kasteel Keukenhof Art Foundation, Lisse 2011
Rijksakademie Open 2011 Rijksakademie van beeldende kunsten, Amsterdam 2011
a green thought, in a green shade Art Amsterdam MK Gallery 2011
Prix de Rome 2011 Smart project space, Amsterdam 2011
Borderline Picturesque & the Recounting Prospect Tromsø Kunstforening, Tromsø, Norway 2010
Borderline Picturesque & the Recounting Prospect
Documentation, ‘Borderline Picturesque & the Recounting Prospect’, wooden dressing screen with direct print B&W photo print, audio description on vinyl record, 2m by 3.3m, 8 minutes 44 seconds, 2010
Borderline Picturesque & the Recounting Prospect
Documentation, ‘Borderline Picturesque & the Recounting Prospect’, hand printed photograph from negative & one piece of fabric tape, wooden dressing screen with direct print B&W photo print, audio description on vinyl record, 1.2m by 1.5m, 2m by 3.3m, 8 minutes 44 seconds, 2009-2010
Borderline Picturesque & the Recounting Prospect
Documentation, ‘Borderline Picturesque & the Recounting Prospect (part three)’, audio description on vinyl record, 8 minutes 44 seconds, 2010
Borderline Picturesque & the Recounting Prospect
Documentation, ‘Borderline Picturesque & the Recounting Prospect’, wooden dressing screen with direct print B&W photo print, 2m by 3.3m, 2010
Borderline Picturesque & the Recounting Prospect
Documentation, ‘Borderline Picturesque & the Recounting Prospect, (part one)’, hand printed photograph from negative & one piece of fabric tape, 1.2m by 1.5m, 2009

“Borderline Picturesque & the Recounting Prospect” began with a residency in Tromsø in 2008, where it was my experience of, and integration into, an intriguing, and quite foreign to me, community that fuelled the project. A community defined by their traditions, histories, myths and landscape: for whom local identity was of the upmost importance and in which music and image played a vital role in defining and sustaining these traditions. Through a process of abstraction and translation, both physical and mental, I created the works. These works abstract imagery important to the defining of this micro culture; allowing them to speak more generally about ones relation to landscape as a cultural product.

“Borderline Picturesque & the Recounting Prospect, (part one)” Is a diptych of still life images. I’d become fascinated by the codification and co-modification of the cities surrounding landscape and it’s affect on the local culture. After the residency I set about making sense of the information and images I’d collected, arranging and re-arranging the material on my studio table. This was an attempt to free myself from seeing these images as a symbolic or representational of an actual place and rather to see them for their inherent power out with their context. Of the diptych, one depicts a tower of generic landscape postcards collected in and around Tromsø, the other, a collection of ethnographical photographs depicting Sami life. Here I deliberately wanted to create an image which functioned both in terms of the native derived from associations to the objects depicted and the material affect of the composition.

‘Borderline Picturesque & the Recounting Prospect, (part two)’ is a wooden dressing screen with a landscape photography printed directly across the laser cut mdf panels. This work was inspired in part by the lacquer dressing screens of Eline Gray, and in part by the patterns and aesthetics I encountered in Northern Norway. I believe the way we encounter an image is of fundamental importance to its reading. With this work I was interested in experimenting with the possibilities of challenging the cultural hegemony of image based works being staged on a wall. It was my intention to experiment with destabilising the position from which you’re meant to experience an image; taking the sideways glimpse as an alternate model and the dressing screen as a domestic object that exemplifies the glimpse.

‘Borderline Picturesque & the Recounting Prospect, (part three)’, a sound work, addresses the desire and myths of exploring a foreign and forbidding landscape. I had images from Norwegian Polar Research Centre translated into text by a professional audio describer. This specific form of translation attempts to objectively convert the visual information into language and in so doing de-contextualise the images, leaving their underlying seduction abstract from any concrete situation. It is my home that the resulting works go beyond specific local politics, and speak more generally about our relationship to the land we occupy and the myths we build around that.

Curated by Svein Ingvoll Pedersen of the Tromsø Kunstforening

These works were produced during a period of support from the O&O funding from the CBK Rotterdam

Borderline Picutesque & the Recounting Prospect

Download Living with images the logic of simulation in the work of Edward Thomson Frans Willem Korsten, Erasmus University Rotterdam – University of Leiden in PDF.

Download Borderline Picturesque & the Recounting Prospect in PDF.

New Graffiti, Old Revolutions MK gallery, Rotterdam 2010
A group show Croxhapox, Ghent 2010
Done to a dead end & the dead or alive sale SD&G, Rotterdam 2010
Edward Clydesdale Thomson SECONDroom, Brussels 2009
A Leopard, Some Monkeys, Numerous Butterflies, Dozens of Peacocks and a Sublime Vista 4th Issue NOWISWERE, Contemporary Art Magazine, London 2009
Open Office for Words ADA, Rotterdam 2009
Imaginary Cinema - Discussion WDW 653, Rotterdam 2009
Residency at Het Wilde Weten, Rotterdam WDW 653, Rotterdam 2009
Impromptu Affairs DEK 22, Rotterdam 2009
Selbstzweck Private Collection 2008
Residency at Kysten Tromsø Kysten Tromsø 2008
Small Talk with the Janitor Piet Zwart Institute, Rotterdam 2008
My Travels with Barry, MA Graduation Show Tent, Rotterdamt 2008
Just what is it that makes that thing so different, so appealing? Expodium, Utrecht 2008
Observing Construction NEST, Netherlands Architectuurinstituut (NAi) Rotterdam 2007
This is how it must feel to be there Pakhuismeesteren, Rotterdam 2007