Mary Edwards

SOUND INSTALLATION

No Man Must Speak But in Whispers: Soundscape Inspired by Moby Dick from the Perspective of The Whale

Now on exhibit at
The Grimshaw-Gudewicz Gallery
29 April through 28 May, 2014
Opening Reception: 29 May 2014, 6-9pm

RECORDING

Everyday Until Tomorrow

Mary Edwards' fourth studio recording and follow-up to Eastern/Central & Mountain/Pacific to release Summer 2014

THEATRE

The Women at the Well:
Poems by Grace Bauer

Director Sharon Rae Paquette's production of Grace Bauer's book of poetry The Women at the Well includes original music by Mary Edwards and set design by Liz Buckley.

April 3-5 at The Belknap Mill in Laconia, NH
June 17 at The Little Church Theater of Holderness, NH

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SOUND INSTALLATION

No Man Must Speak But in Whispers: Soundscape Inspired by Moby Dick from the Perspective of The Whale

No Man Must Speak But in Whispers, Mary Edwards' soundscape inspired by Moby Dick from the perspective of "The Whale," will be on exhibit at the Provincetown Art Association and Museum from January 24 through April 27 with an Opening Reception on Friday, January 31.

SOUND INSTALLATION

CONVERSATION AT 2 WEST 13 STREET AT THE SHELIA JOHNSON DESIGN CENTER, NYC

Conversation at 2 West 13th Street is an extension of a sound showcase hosted by the research group Sound@Newschool. As one of the participants invited to engage sonically with a specific image from the building, Mary Edwards created a response to a cantilevered room. It will be installed as a component of the exhibition at the Sheila Johnson Design Center opening in January 2014.

SOUND INSTALLATION

THE SWEET CURVE AND EPILOGUE FOR A QUINN MARTIN PRODUCTION INSTALLS AT GALLERY 114 IN PORTLAND, OR

The Sweet Curve—part of a sound trilogy where each composition reflects the conflict of desire and uncertainty that seems to simultaneously haunt intimate (if sometimes interim) spaces, each drawing on the relationship we have with temporality, where the anticipation of travel or movement often overshadows the destinantion — signifies the essence and impermanence of nature and architecture, evoking both absence and presence through sound. Mary Edwards practices what Juhani Pallasmaa calls "Sensuous Minimalism," where a certain neutrality, restraint and silence are an inherent quality of the discipline: "The significance of architecture is not in its material form, but in its capacity to reveal deeper layers of existence." The Sweet Curve—in addition to her sound compositions, per/severance and Epilogue for a Quinn Martin Production —will be installed as part of the Penumbra exhibition at Gallery 114 in Portland, Oregon, 2 January through 1 February 2014.

REVIEW

BCC EXHIBITION IS BOTH EVOCATIVE, SOOTHING
The Bedford Standard-Times, 5 October 2013

History gets lost, unless it's remembered. Or buried, unless it's unearthed. The work of two very different artists, overlapping thematically so as to examine the past and our relationship with it, come together to form one installation that is currently on view at the Grimshaw-Gudewicz Gallery on the Bristol Community College campus in Fall River. Titled "this bright morning," by fabric artist Charlotte Hamlin, and "per/severance," by composer Mary Edwards, the installations link visitors through textures of the ear and eye to what has gone before us...

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REVIEW

SOUND INSTALLATION BRINGS QUEQUECHAN RIVER INDOORS
The Fall River Herald News, 2 October 2013

The sounds of the Quequechan River can be heard in an unexpected location this month: the Grimshaw Gudewicz Art Gallery at Bristol Community College. The gallery’s first sound installation, “per/serverance,” by sound artist and composer Mary Edwards, brings the river into the gallery through an interpretive “soundscape” that melds the sounds of the river with other bodies of water, nature sounds, and melodic instrumentation.

“This is the first time that sound has been so prevalent in an installation,” said gallery director Kathleen Hancock. “The notion of an exhibition of sound was so immersive, most people who come in lay down or sit down to listen to it.”...

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LISTEN

TOUR

DISCOGRAPHY
	EVERYDAY UNTIL TOMORROW (2014)
	EASTERN/ CENTRAL & MOUNTAIN/ PACIFIC (2012)
	CONSOLE (2010)
	A SMILE IN THE MIND (2007)

BIOGRAPHY

Mary Edwards is a composer whose projects range from recordings "evocative of epic cinematic soundtracks combined with lyrical intimacy..." (Time Out NY), to sound installations that explore the relationships between nature, history, architecture and cinema for the ear.

Her extended discography includes her solo releases, A Smile in the Mind (2007), Console (2010), Eastern/Central & Mountain/Pacific (2012), and Everyday Until Tomorrow (2014), she takes her inspiration from '60s film scores, Ambient music and classic pop, thinking "in terms of miniature movies" (to paraphrase Burt Bacharach) to create an indelible, sprawling landscape of sound.

Recently, her impressionistic river soundscape per/severance, on exhibit at the Grimshaw Gudewicz Gallery (MA), was lauded by the Bedford Standard-Times as, "…engaging...," while The Sweet Curve—part of her sound trilogy including For The Time Being and I Could Live Forever (in a Day Like Today) at Gallery 114 (Portland, OR)—has been described in its nascence by writer Katt Lissard as "...an intriguing and important project which acknowledges the role of humans in the way architecture functions (or doesn't) in our culture. Mary Edwards hopes to take space back for all of us, not through the seizure of property or the redefinition of place, but though the use of melody and phrasing and multi-aural overlay."