Edward has no formal training in art, although his father was a painter who also taught fine art, instead, he has a degree in philosophy from Bristol University.
Edward has always been interested in painting and drawing and began making simple mobiles as nursery decorations.
He became interested in the more elaborate sculptural possibilities of the form after seeing the work of Alexander Calder. He’s also influenced by sculptors including Hepworth, Brancusi, Arp and Naum Gabo. Edward draws a lot of inspiration from animal and plant forms and often thinks of his sculptures as “suspended animations”, lying at rest, waiting for a passing breeze to breathe life into them.
In his kinetic sculptures he explores the ideas of fragility and strength as well as opposition and resolution. He is interested in the contrast between the solid, definite parts of the sculpture and the more uncertain, complex and changeable parts. The pieces have a sense of harmony, rhythm and progression and are intended to be enjoyed as both elegant, striking forms and objects for contemplation and meditation. Whilst each sculpture outwardly appears to express a settled tranquillity, it actually relies for its existence on the internal tensions resulting from the pull of each part against every other, so that the whole is comprised of individual elements working in collaboration to produce a system in a kind of “dynamic equilibrium”.