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    Body of a rocking horse packed in a wooden structure and translucent plastic. The plastic is torn open partially revealing the body of the rocking horse.
    Caption
    Untitled, Ed Burrell, 2024, heirloom rocking horse body, time capsule, packing plastic, pallet wood

    ©the artist

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    Dormy Hotel Letter
    Caption
    Dormy Hotel Letter, Ed Burrell, 2024, embroidery thread, cotton fabric. 30 x 42 cm

    ©the artist

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    Clip frame, archival letter and dance invitations.
    Caption
    Untitled, Ed Burrell, 2024, clip frame, archival letter and dance invitations, 21 x 30 cm

    ©the artist

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    Painting of a woman's face, mostly obscured by a magpie.
    Caption
    One (Hilary), Ed Burrell, 2024, oil on birch board, 15 x 21 cm

    ©the artist

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    Installation photo of archival boxes, archival material, clip frames, broken glass, embroidery thread, cotton fabric.
    Caption
    Archive, Ed Burrell, 2024, archival boxes, archival material, clip frames, broken glass, embroidery thread, cotton fabric

    ©the artist

Ed Burrell – BA/BFA

Working with recently uncovered family archival material produced from 1940-83 when my paternal grandfather was stationed with the British military in Libya, Malta and Cyprus, I am trying to understand the ways that violence underlines the imperial family unit and how my white, transmasculine, often sick body has been formed and categorised, benefited and suffered at the hands of these structures. In reading the archival material against itself, I am trying to begin to form a way of living that can be both future looking and ongoingly healing whilst enfolding into itself and slowly metabolising the ongoing violences embedded in the ways we have been taught to love. Important theoretical touchstones in forming this practice have been Eve Kosofsky-Sedgwick’s Reparative Reading, Nicholas Mirzoeff’s White Sight and Michelle Murphy’s Alterlife.