Maya Rose Edwards
About
Public artist and Creative Facilitator from Yorkshire, currently living and working in Glasgow, Scotland. Glasgow School of Art graduate of Sculpture & Environmental Art, RSA New Contemporaries selection 2021, and a member of the 2022 cohort of The School of The Damned.
Their practice spans participatory public sculpture, intervention, text, and a range of visual output with a specific focus on accessible arts and everyday culture.
Maya has shown work at over 15 locations across the UK and was the recipient of Emerging Artist Bursary for Inverclyde Culture Collective, Award for Best Young Practitioner at Origins Arts Festival (London, 2018), Emerging Artist in Residence at Mount Stuart (Isle of Bute, 2022), Creative Scotlands Youth Arts Bursary (Glasgow, 2022) and has been featured in Trebuchet Magazine, Desperate Times Gallery, and The Times Newspaper 2021.
Artist Statement
(b.1999, Yorkshire)
‘I adopt a hunter gatherer approach to art making.
A semantic magpie who reads objects and uses language like Lego bricks. I punctuate the linguistic landscape with aesthetic encounters, poetic and sculptural happenings to induce double takes in passers-by. At best a metaphor, in all things a contradiction, my work exists as observations, ephemera and social engagement with an aim to uncover order within negative spaces. I want to establish how objects stand in place for us, challenging the sequence of the everyday to occupy the boundary between self and other. Always in series or cycle, closer to madness than reason, even the familiar contains an element of the strange. Relying on the right degree of wrongness to induce double takes in passers-by, my work displaces the hierarchy of perception back to the realm of the pedestrian.’
‘I adopt a hunter gatherer approach to art making.
A semantic magpie who reads objects and uses language like Lego bricks. I punctuate the linguistic landscape with aesthetic encounters, poetic and sculptural happenings to induce double takes in passers-by. At best a metaphor, in all things a contradiction, my work exists as observations, ephemera and social engagement with an aim to uncover order within negative spaces. I want to establish how objects stand in place for us, challenging the sequence of the everyday to occupy the boundary between self and other. Always in series or cycle, closer to madness than reason, even the familiar contains an element of the strange. Relying on the right degree of wrongness to induce double takes in passers-by, my work displaces the hierarchy of perception back to the realm of the pedestrian.’