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
“0168-TU-020-SA (smoke field)” from Shadow Archive, [umbrae], 2014 Gelatin Silver Print 7"X9" © Colin Edgington
“Loose Writing no.3 (energy)” From Ephemera, [umbrae], 2013 Pigment Print 11" X 14" © 2013
“1537-TU-010-SA (shadowed wall 2)” from Shadow Archive, [umbrae], 2014 Gelatin Silver Print 5" X 7" © Colin Edgington
“Drawing no.3 (Petroglyph)” From Ephemera, [umbrae], 2013 Pigment Print 11" X 14" © Colin Edgington
Untitled [cogito], 2010 Pigment Print 11" X 15" © 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, 2010, MFA
School of Visual Arts New York (SVA), 2016, MFA
representation mixed-media landscape, art writing photography, conceptual

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

His work has been exhibited internationally and published nationally. He was named the winner of the Iowa Review Photography Prize for his seemingly authorless body of work titled [umbrae] in 2012. He holds a BAFA in studio art from the University of New Mexico, an MFA in studio art from the Mason Gross School of Arts, Rutgers University and an MFA in Art Criticism and Writing from the School of Visual Arts, NYC.


For him, the photograph is a site of collision in which ontological, epistemological, and phenomenological elements exist simultaneously. It is in this area of polarity (image/object, icon/index, art/technology, fact/fiction, visible/invisible) that he finds the power of the medium and so chooses to work; an area that exists beyond the confines of the linear. His practice, then, focuses on the image as a mediator of experience and knowledge. Ephemerality plays a crucial role as a nucleus between the material and immaterial, thus providing a physical expression of the slipperiness he finds so exciting about images and their effects on the greater sphere of cultural activity.