Edward Clydesdale Thomson Bio
CALM BEFORE THE STORM Radius, Delft, The Netherlands 2022
Where Shall We Plant the Placenta? A Tail of a Tub, Rotterdam, The Netherlands 2022
spellbound CBK Zeeland, Middelburg, The Netherlands 2022
rivier, boot, stad Dordrecht’s Museum, Dordrecht, The Netherlands ongoing
bound to the miraculous online ongoing
Grazer Kunstverein is moving Grazer Kunstverein, Graz, Austria ongoing
Microplastics Rain Down from the Sky Division of Labour, Art Rotterdam, The Netherlands 2020
Buffer zones Paradise Works, Manchester, UK 2019
landfall O&O funding, CBK, Rotterdam 2019
An exhibition of posters Witte de With, Rotterdam, The Netherlands 2018
wild care tame neglect - exhibition Frankendael Foundation, Amsterdam, The Netherlands 2018
below the soil, between the branches, above the clouds Into Nature, biennial, Drenthe 2018
how to kill a tree Frankendael Foundation, Amsterdam 2018
Tuin van Toorop Jan Tooropstraat, Amsterdam 2018
noon Irish Museum of Modern Art, Dublin, Ireland 2017
the necessity of art Grazer Kunstverein, Graz, Austria 2017
wilder beings command Irish Museum of Modern Art, Dublin, Ireland 2017
wild care tame neglect Frankendael Foundation, Amsterdam, The Netherlands 2016
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 O&O funding, CBK, Rotterdam 2014
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
here is always somewhere else
Documentation, ‘causa finalis’, painted steel gates, digitally printed carpets, screen printed cushions, (Carpets, 1.7m by 2.7m)(Gates, 6.6m by 1.55m & 4,3m by 1,3m)(Cushions, 50cm by 50cm), 2012
here is always somewhere else
Documentation, ‘Verdant Sculpture’, two identical laser-cut patterned aluminium sheets sandwiched to steal frame using two red tie down straps, 1.5m by 2.8m by 20cm, 2011
here is always somewhere else
Documentation, ‘causa finalis’, painted steel gates, 1.5m by 2.5m, 2012
here is always somewhere else
Documentation, ‘Borderline Picturesque & the Recounting Prospect’, ‘As through a lens’, vinyl record (Side A 8:44), (Side B 21:00), wooden dressing screen with direct print B&W photo print, 2m by 3.3m, 2010 - 2012

‘Verdant Sculpture’ is a large aluminium rectangular partition created by sandwiching two identical sheets of laser cut aluminium around a steel frame using two red tie downs. Patterns in general do not simulate any sense of depth; they’re flat. Even if there is an actual object or place depicted these are almost always graphically abstracted into symbolic or iconographic representations. When I designed the pattern for this piece I was experimenting with creating a pattern that could indicate a sense of depth. As a starting point for the structure of the pattern I was looking at the compositional structures in Claudian landscape painting; the use of foreground, mid-distance and distance that he employed to create a sense of distance and movement in his paintings. This structure dictated the scale of the differing leave patterns and their positioning. The piece forms a block, a kind of temporary obstacle, held together momentarily with impromptu tie downs. It is this question of instability I was interested in; the instability or inability of the pattern to form a proper image, the large solid metal construction occupying space, yet the impermanent nature of the tie downs indicating it’s only occupying a holding position before it moves on. ‘Causa Finalis’, 2012 consist of steel constructions – gates or parts of gates in different sizes and shapes – leaning against the wall, resting on cushions, lying on the floor, and standing on top of carpets: a temporary repository. On the one hand the structures’ forms might resemble minimalist sculpture, yet their decorative counterparts found in the textiles’ prints, give way to a different reading. Through a process of abstraction and translation, I derived these forms from the eighteenth century topiary garden designed by the Scottish architect Robert Lorimer (1864-1929) for Earlshall Castle in Scotland. At first sight, one could imagine topiary – the cutting and shaping of ever greens into specific forms – to have gone out of fashion a long time ago, as one of the carpets perhaps indicates: in 1713, with his satirical enumeration of possible topiary, English poet Alexander Pope (1688-1744), announced a turning point in the then popular topiary. With his mock inventory: ‘The Tower of Babel, not yet finished’; ‘St George in box; his arm scarce long enough, but will be in condition to stick the dragon by next April’, he heralded a more natural form of landscaping to come into fashion, only for topiary to come back into fashion again with the Cottage Garden and the Arts and Crafts Movement, advocated a.o. by Lorimer. 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 to become fully formed. Secondly its dedication and focus. By working 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 frees art from the romantic pressure to provide the escape from the deadlock of the systems in which we live and allows it to speak in its own voice. “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 ‘As though a lens’ is the culmination of the ‘Borderline Picturesque & the Recounting Prospect’ project. It is a vinyl record produced in an edition of 300. Side A contains a spoken word piece, created through having images from the archive of the Norwegian Polar Research Institute audio described. Side B contains five instrumental songs created in a week long improvisation session with a group of Norwegian folk musicians who were asked to translate the audio descriptions from side A into music. Forum Triangulare

05 Stripes of braid 04 A weather beaten wooden pole rises 03 An owl transplanted onto his shoulders 02 The attitude of holding a pipe 01 Unreal in their density Borderline Picutesque & the Recounting Prospect

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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
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