Font Hill Manor, oil on panel, Edward Marston, Infrastructure @ Twenty-Two Gallery
Edward Marston, Infrastructure @ Twenty-Two Gallery.
Little Boulder Creek, oil on canvas and Hedgerow, oil on panel by Edward Marston.
Edward Marston, Infrastructure @ Twenty-Two Gallery.
Pretty Lady, oil on canvas and Boulder Field, oil on panel.
Edward Marston, Infrastructure @ Twenty-Two Gallery.
Home Gone, plexiglass and wood.
Edward Marston, Infrastructure @ Twenty-Two Gallery.
Edward Marston explained to DoN why he was so happy about the painting in the window of Gallery Twenty-Two, Schuylkill Expressway belongs in the window because it belongs in Philadelphia, its local. And it shows the freight trains and the Schuylkill Expressway in twilight and it brings home what I feel about that area. DoN asked if Marston was intentionally tapping into the market for Philadelphia art or if it was a more personal painting? Ive been coming to Philadelphia since I was a kid, I grew up in the suburbs but its been my main destination as far as urban goes. And I think its absolutely a lovely city and fascinating architecture and every time I turn around I see something new. Almost all of the paintings are plein air or draw first plein air and I use drawings as a reference. None of them are photographic renderings.
DoN inquired how Edward Marston feels about being a landscape painter in the 21st Century? This is what I do. Theyre landscape paintings but theyre not an idyllic trip to the past. I think a lot about these paintings and they all comment on the contemporary scene, Im aware of what Im doing. When I paint something thats coming apart, its something that maybe shouldnt be coming apart or its a comment on a thing that shouldnt be. Old roads, that you wouldnt know was a road; I recognize them as ancient roads and everything resonates as far as Im concerned, its all today.
Photographs by DoN.
