Bigindicator

Edmund Wyss

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Spdgrphc
Speedgraphic, 2008 Oil on Panel 18" X 27"
Flex
Flex, 2009 Gouache on Paper 12" X 19" © Edmund Wyss
Canonp
Canon, 2008 Gouache on Paper 12" X 18" © Edmund Wyss
Plane
Plane, 2009 Gouache on Paper 13" X 18" © Edmund Wyss
Viscera
viscera, 2008 Gouache on Paper 8" X 11" © Edmund Wyss
57933_tb
57933, 2009 Gouache on Paper 18" 12 © Edmund Wyss
Bolex
Bolex, 2008 Oil on Panel 18" X 27" © Edmund Wyss
Sp-21mm
21mm, 2007 Oil on Canvas 34" X 46" © Edmund Wyss
Nose_to_nose
Nose to Nose, 2007 Oil on Canvas 52" X 14" © Edmund Wyss
50mm
30mm/50mm, 2006 Oil on Canvas 36" X 36" © Edmund Wyss
Leica_m4-50mm
M4/50mm, 2007 Oil on Canvas 50" X 28" © Edmund Wyss
105mm
105mm, 2007 Oil on Canvas 46.5" X 14" © Edmund Wyss
Paper_m3
paper M3, 2008 Gouache on Paper 8.5" X 11" © Edmund Wyss
Paper_bolex
Paper SBM, 2008 Gouache on Paper 11" X 15" © Edmund Wyss
7_speedgraphic
Speedgraphic, 2008 Oil on Panel 27 X 18 In. © Edmund Wyss
20100825125244-sp_float
SP Float, 2010 Oil on Board 18" X 24" © Edmund Wyss
Wyss2
Quick Facts
Birthplace
Portland, OR
Birth year
1970
Lives in
San Francisco
Works in
San Francisco
Representing galleries
Tags
realism, conceptual
Statement

My unusual approach to still life oil painting focuses on detailed rendering of mechanical forms. I draw comparisons between rudimentary weapons and old photographic tools with an emphasis on segmented components and numeric impressions. My rigid compositions are based on a grid which reflects the geometric structure of these forms. Devoid of narrative traces or subjectivity, I emphasize their collective historical realization and development. In addition, my prominent inclusion of manufacturer serial numbers indicate simultaneous repetition and uniqueness.

I am fascinated by the concept of spatial domination. My painting has developed in both theme and process from this notion. My subjects use mathematical calculations to capture and control space. Both tools can reach their targets from great distances. The camera is enabled by various lenses to capture and define space, while weapons dominate space by launching projectiles. Thus, these devices allow for intimacy and distance to coexist. This illustration provides a metaphor for viewing my work. I employ a graphic framework that stretches to every edge of the canvas and paint precise detail and tonal nuances to suggest volume. In this way, the subjects dominate your field of vision. Observers should enjoy my work from multiple perspectives, between its massive sculptural illusion to a use of meticulous and active brushwork.

CV



Education

MFA, San Francisco Art Institute, San Francisco, CA, 2007
BFA, Pratt Institute, Brooklyn, NY, 1998

Group Exhibitions

Innocent Gaze, Jack Hanley Gallery, San Francisco, CA. 2007
Point and Shoot, Blackfish Gallery, Portland, OR. 2007
Cream- from the top, Arts Benicia Gallery, Benicia, CA. 2007
Vernissage, MFA Thesis Exhibition, Fort Mason, San Francisco, CA. 2007
MFA Group Exhibition, Diego Rivera Gallery, San Francisco Art Institute, San Francisco, CA. 2007
Immediate Future, San Francisco Arts Commission Gallery, San Francisco, CA. 2006
Woodlands, Swell Gallery, San Francisco Art Institute, San Francisco, CA. 2006
Reality Bites, Diego Rivera Gallery, San Francisco Art Institute, San Francisco, CA. 2006
Selected SFAI/CCA Group Show, Swell Gallery, San Francisco Art Institute, San Francisco. CA. 2005

Juried Exhibitions

ProArts Gallery Annual, Oakland, CA. 2007. Juror: Berin Golonu
Anti/Social, Mission 17, San Francisco, CA. 2006. Jurors: Clark Buckner / Cheryl Meeker
Some Assembly Required, The Lab, San Francisco, CA. 2006. Jurors: Steven Wolf / Michael Arcega
Berkeley Art Center 23rd Annual National Juried Exhibition, Berkeley, CA, 2006. Jurors: Paule Anglim / Mildred Howard

Awards and Honors

San Francisco Foundation, Murphy and Cadogan Fellowship in the Fine Arts, 2006
Magna Cum Laude, Pratt Institute, Brooklyn, NY, 1998