It was a perfect day for it: the sun shining, the yellow of oilseed rape fields spreading in patterns with green on each side of the landscape as I drove south, preparing me for the bright light and colour as I entered the gallery.
Edwards' work is joyous, and especially so with the yellows, and that glorious marriage of yellow with white and black and grey. But it not only provides that happy top note; also, bringing a deep feeling of fulfilling satisfaction is the breadth of subtlety. The combination of threads, of textures, of pattern, of absorbing and reflecting, of expectation and surprise, of always, always, always being worth looking at closely, distantly, closely, again and again.
I did not pay attention to the titles. I was absorbed by the pieces themselves, and I apologise for my inadequate snaps.
Not all the pieces were yellow. There was also blue, and the most beautiful subtle range of whites and off whites.
In the exhibition notes there is mention of Edwards reaching a pause at the end of her previous exhibition tour, and that her wanderings anew took her amongst other inspirations to an exhibition of Agnes Martin's work. I loved the weaving I've pictured above for that loose pencil-like mark-making: the look of the emotional rather than the rational taking over hand and implement to respond, to note, to understand.Below is an even worse snap close-up of a small piece like the ones above. (The image above came from here where there are a few more pix from the Harley Gallery.)
In a short film the work pictured immediately above was shown in development, and can be seen here.
The piece which I think I am drawn to most, however - probably because I find it dramatic, enigmatic, changeable,.... It rubs against my mind with its layers of black, its poured yellow and black, the fields of whites, the delicious symmetries/asymmetries - the movement, the solidity - it is just utterly wondrous: The Cut Line.
Even the title makes me wonder.