Colin Edgington

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“0172-TU-001-SA (cairn)” from Shadow Archive, [umbrae], 2012 Silver Gelatin Print 5" X 7" © 2012
“0200-TU-002-SA (shadow WO owner and dirt)” from Shadow Archive, [umbrae] , 2012 Silver Gelatin Print 5" X 7" © 2012
“Loose Writing no.3 (energy)” From Ephemera, [umbrae], 2013 Pigment Print 11" X 14" © 2013
Untitled [cogito], 2010 Pigment Print 11" X 15" © 2010
Untitled [triptych], 2010 C-print 18" X 48" © 2010
futuregrove, 2009 C-print 47" X 60" © 2009
Dust No.1, 2009 C-print 13"x20" © 2009
Rainfall, 2009 C-print 40"x50" © 2009
Snowfall No. 18, 2009 C-print 13"x20" © 2009
Cloud, 2009 C-print 30"x40" © 2009
Untitled [Slagscape], 2008 Silver Gelatin 24" X 48" © 2008
Quick Facts
Denver (Raised in Albuquerque, NM)
University of New Mexico, 2005, BAFA
Rutgers University - Mason Gross School of Art
representation mixed-media landscape, art writing photography, conceptual

Colin Edgington is a visual artist currently living and working in New Jersey. He was born in Denver, Colorado but grew up in Central New Mexico, a place that has shaped (and continues to shape) his understanding of the world.

His work has been exhibited internationally, published nationally and has written for Exposure: The Journal of the Society for Photographic Education, Afterimage: The Journal of Media Arts and Cultural Criticism and Fraction Magazine. He was recently named the winner of the Iowa Review Photography Prize for his project [umbrae].

He holds a BAFA from the University of New Mexico and an MFA from the Mason Gross School of Arts, Rutgers University. He currently teaches photography at the College of Staten Island, CUNY, Raritan Valley Community College, and Northampton Community College.


The photograph is, for me, a site of imaginative contention, one that is often suspended within the grey areas of ambivalence attributed to the medium (image/object, icon/index, art/technology and fact/fiction). It is in this area that I find the power of the medium and so choose to work; an area that is more in line with literature than document, a medium that exists beyond the confines of the linear.

My practice often resides in between the landscape and the studio where I construct sites and objects, invent views and build narratives. I am interested in the notions (and contradictions) of site, distance and place. I am swayed by perception and dynamic contexts. Conceptual motivation is rooted in a historical, environmental, social and personal hypocenter where the medium’s ability to reveal and conceal is at the forefront.