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
Secret Gardens
Documentation, ‘Verdant sculpture and the Abundance of pattern’, three tubular steel topiary formworks after Lorimer. Two laser cut aluminium Brise Soleil. One piece of patterned fabric (Maija Louekari, Marimekko), 1.7m by 1.8m by2m, 1.4m by 1.6m by 2.4m, 1.4m by 1.4m by 2.5m, 2004
Secret Gardens
Documentation, ‘Verdant sculpture and the Abundance of pattern’, three tubular steel topiary formworks after Lorimer. Two laser cut aluminium Brise Soleil. One piece of patterned fabric (Maija Louekari, Marimekko), 1.7m by 1.8m by2m, 1.4m by 1.6m by 2.4m, 1.4m by 1.4m by 2.5m, 2004
Secret Gardens
Documentation, ‘Verdant sculpture and the Abundance of pattern’, three tubular steel topiary formworks after Lorimer. Two laser cut aluminium Brise Soleil. One piece of patterned fabric (Maija Louekari, Marimekko), 1.7m by 1.8m by2m, 1.4m by 1.6m by 2.4m, 1.4m by 1.4m by 2.5m, 2004
Secret Gardens
Documentation, ‘Verdant sculpture and the Abundance of pattern’, three tubular steel topiary formworks after Lorimer. Two laser cut aluminium Brise Soleil. One piece of patterned fabric (Maija Louekari, Marimekko), 1.7m by 1.8m by2m, 1.4m by 1.6m by 2.4m, 1.4m by 1.4m by 2.5m, 2004
Secret Gardens
Documentation, ‘Verdant sculpture and the Abundance of pattern’, three tubular steel topiary formworks after Lorimer. Two laser cut aluminium Brise Soleil. One piece of patterned fabric (Maija Louekari, Marimekko), 1.7m by 1.8m by2m, 1.4m by 1.6m by 2.4m, 1.4m by 1.4m by 2.5m, 2004
Secret Gardens
Documentation, ‘Verdant sculpture and the Abundance of pattern’, three tubular steel topiary formworks after Lorimer. Two laser cut aluminium Brise Soleil. One piece of patterned fabric (Maija Louekari, Marimekko), 1.7m by 1.8m by2m, 1.4m by 1.6m by 2.4m, 1.4m by 1.4m by 2.5m, 2004
Secret Gardens
Documentation, ‘Verdant sculpture and the Abundance of pattern’, three tubular steel topiary formworks after Lorimer. Two laser cut aluminium Brise Soleil. One piece of patterned fabric (Maija Louekari, Marimekko), 1.7m by 1.8m by2m, 1.4m by 1.6m by 2.4m, 1.4m by 1.4m by 2.5m, 2004
Secret Gardens
Documentation, ‘Verdant sculpture and the Abundance of pattern’, three tubular steel topiary formworks after Lorimer. Two laser cut aluminium Brise Soleil. One piece of patterned fabric (Maija Louekari, Marimekko), 1.7m by 1.8m by2m, 1.4m by 1.6m by 2.4m, 1.4m by 1.4m by 2.5m, 2004

Recently the art of topiary seems increasing pertinent a discipline to me. Especially in today’s media driven society in which perception increasingly becomes fragmented and truncated, there are two aspects in topiary, which assume antagonistic qualities. Firstly its time, it could take up to 30 years for a large specimen to become fully formed. Secondly its dedication and focus, the trees especially in their formative years requiring repeated attention. By working artistically with Topiary I deliberately try to posit the idea that an artwork needs not be about the immediate, the now, or the spectacular. This being the case then art does not have to be constantly in need of attention or appeal to be looked at and thus is free to speak in different tones or at moments even not at all. All of which allowing it in the end to REALLY speak, but speak in its own time. As a discipline Topiary I feel speaks of one way the image of nature is used for our self-reflection. To cut a tree in our own image in order to see ourselves from outside, and as such I feel now it is very important to revisit this discipline.

‘Verdant Sculpture and the abundance of pattern’ I feel speaks of three ways the image of nature is used for self-reflection. To cut a tree in our own image in order to see ourselves from outside. To look at the ‘sublime’ and through its immensity look inwards. To surround ourselves in nature’s image to reflect on our position.

The installation consisted of three formworks that could be used to recreate the topiary of Earlshall. These structures are of course sculptures in their own right, speaking to a language of modernist design. But their potential, both practically and conceptually as an object which allows a certain history to speak, I find pertinent. Two brise soleil on the North wall and inside the window, have their functionality denied, while at the same time providing a barrier or blockage mediating between inside and out. The pattern of the brie soleil I designed to function like a ‘sublime’ landscape image with a sense of distance and immensity. And one piece of patterned fabric produced by Marimekko, a Finnish textile company that from 1950’s supported a generation of soon to become influential designers. Inspiring the patterns that surround us from the flower power movement to the ubiquitous IKEA floral patterns.

Curated by Willie Stehouwer

TENT,Rotterdam

Download TENT Secret Gardens in PDF.

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
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