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Bio

October, 2011

Ed Marston draws, paints in oils, and makes monotype prints often featuring out-of-the-way or unexpected scenes and places in the PA, NJ, Delaware and Maryland region. His work covers rural, maritime, urban and industrial subjects and he also draws from his collection of obsolete machinery, curious artifacts and natural materials for still life subjects and sculptures.

His training includes painting and printmaking at Bucks Community College, Pennsylvania, Academy of Fine Arts, plus private lessons with Frank Acuri and James Feehan. He resides in Pipersville, Bucks County, with his wife Theresa and several parrots.

Behind the Dunes, painting, 50x30

As an amateur naturalist I have been practicing the conscious seeing of patterns since childhood. In my early teens I was trained in black-and-white photography, darkroom work and composition by my father, a professional industrial photographer; since then I have self-trained extensively in drawing, painting, and screen-printing as well as continued work with photography. The past decade has seen an active engagement in oil painting and printmaking, including continued classes at Bucks Sunflower, photoCommunity College and Pennsylvania Academy of Fine Arts as well as private study with Frank Acuri and James Feehan.

Representational plein-air work is the primary focus; subjects range from the Delaware River towns and landscapes to marine paintings to urban scenes in Philadelphia plus still-life painting and portraiture. Drawing remains the foundation of both painting and printmaking for my art.

Solo shows include:

Foulkways at Gwynyd, 2004

Muse Gallery, Phila., 2004 - 2006

Ed's works at a galleryTwenty-Two Gallery, Phila., 2008 - 2011

The Pavilion, Doylestown Hospital - currently

My work has also shown and received awards in many shows in the Bucks Co., New Jersey and Philadelphia region and is in numerous private collections. I am currently represented by Twenty-two Gallery in Philadelphia

ARTISTS STATEMENT:

An elusive unified field persists - the eye, the arm and the brush move together as 'mind', outside the reach of words; time slows down, stops, disappears altogether. A tree takes one day to breathe; the Earth give one full breath in a year. The plein-air painter gets to experience a world more familiar to trees and rocks. By translating the impressions of a scene, a collection of objects or buildings onto the 2-dimensional surface, the painter abstracts the sense of wonder that was the original impression. Painting is a way of possessing that which cannot be owned.

- - - Ed Marston

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