Machiko Edmondson studied MA Fine Art at Goldsmiths College, University of London, graduating in 1995.
She has shown internationally with both commercial galleries including
Victoria Miro Gallery (London), Laurent Delaye Gallery (London), Galerie Axel Thieme (Darmstadt), Archimede Staffolini Gallery (Nicosia), Andre Millan Gallery (Sao Paulo), Oscar Cruz Gallery (Rio), the apartment (Athens), Galeria Mário Sequeira (Braga), Rhodes and Mann(London), DomoBaal (London), The Sander Collection (Berlin), Nicholas Robinson Gallery (NY), Galerie Peter Zimmermann (Manheim), ArtFirst (London), UNIX Gallery (NY) and at public spaces/museums such as
Whitechapel Gallery(London), Centro Brasileiro Britanico (Sao Paulo), Stills (Edinburgh), The Nunnery (London), Harris Museum (Preston), Rangers House Museum (London),
Cornerhouse (Manchester), The Exchange-Newlyn Art Gallery, Bradford1-Bradford Museum,
and most recently at Graves Gallery/Museums Sheffield as a part of group exhibition 'HEAD ROLL' which was curated by Paul Morrison in 2018.
Her works have been seen alongside the works of
Alex Katz, John Currin, Elizabeth Payton, Glenn Brown, Peter Doig, Yinka Shonibare, Jeff Koons, Tony Oursler, Takashi Murakami, Yoshitomo Nara, Cindy Sherman, Mariko Mori, Marlene Dumas,
Michael Craig-Martin, Paul Morrison, Mark Wallinger and Andy Warhol and many more.
Edmondson is a British artist.
After a 4 year stint in NY, she now lives and works in London where she has been since the early 80's.
Edmondson refers to her practice as ‘representation of painting’ rather than being representational.
Despite the overt use of faces as her image source, she regards her work as neither figurative paintings or as portraits. Employing the momentary seduction
of fashion photography to lure the viewers into the world of idealised beauty and yearning, her paintings mimic the styles and codes of the desire industry
to question the value and obsessions of aspirational perfection.
Just as in fashion photography where the model is a support for the product and contextualises it, such images also support and contextualise Edmondson’s paintings. Although seductive, the ideal they present becomes hyper-real: the image is devoid of identity and paradoxically empty facade, which is quickly consumed, giving way to the anxiety and obsession that assert these paintings as paintings. Beyond the image which gives them their presence, what is
being portrayed here is the question of aspirational perfection of painting itself. As the viewer engages with these works and scans the surface, shifting their reading between fantasy and the tropes of modernist abstract painting, the skin of the image and the skin of the painted surface, these works become paintings of unattainable desire.