Copyright of images of the paintings -unless otherwise stated © 2016 Machiko Edmondson

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The first image is by Karen David for 'Cork Lined Room' project.  Please vist to to read my replies to ‘Proust Questionnaires’.



Since graduating from Goldsmiths College with MFA in 1995,  Edmondson’s paintings have been shown internationally in various curated shows alongside the works of artists such as 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, Auerbach, Caulfield, Nigel Cooke, Klara kristalova, Léger, Lowery, Paul Morrison, Opie, Deniel Pettitt, Ged Quinn, Rosetti, Sickert,

Luc Tuymans, Rembrandt, Richard Wentworth, Mathew Weir, James White and Christopher Wool

and many more.

She has worked with several of esteemed galleries such as Victoria Miro Gallery, Laurent Delaye Gallery, Art First, Rhodes and Mann, Andre Millan Gallery, Oscar Cruz Gallery, Galeria Mário Sequeira Gallery and Axel Thieme Gallery as well as some museums/public spaces in the past.


Her paintings have also been regularly featured in the Contemporary Art Auctions at Sotheby's and Christie's for the last 8-9 years.

Edmondson is a British artist. 

After 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.