Ed Trask


Ed  Trask

Ed Trask

Ed Trask Biography

Ed Trask, after growing up in Loudoun County VA. left his rural existence,, moved to Richmond VA. and enrolled into the Virginia Commonwealth University’s painting program. While in school he spent every waking hour playing music in the mid 80’s Richmond punk scene and painting. By his third year in school, after many attempts to get gallery attention, he decided to make the many dilapidated buildings surrounding his school his gallery. Paintings were painted directly on buildings, or done on boards and screwed onto the buildings illegally until the city was covered. In 1992 Ed graduated with a painting degree and moved to Washington D.C. where he started touring with Dischord records band the Holy Rollers, and continued to paint illegal murals all over the world. Three years later he moved back to Richmond to join the band Kepone . While the demand for his paintings started to grow, he figured he should start a gallery and make a go at mural and sign work. Since then the work has never stopped flowing in, and Ed’s paintings and murals have been collected into many permanent collections including Gap, Capitol One, Fortune Magazine, N.B.C. Philip Morris, Media General and Play inc. Ed now plays in the bands AVAIL and Corntooth , continues to have art shows worldwide and has his studio in Richmond Virginia where he lives with his beautiful wife and two children.

Ed Trask Statement

I paint a symbolic portrait of themes dealing with preservation, spirituality, and a social, moral loss of history in a consumer driven age. I choose imagery that sparks the imagination: dilapidated buildings, soon to be developed landscapes, forgotten architectural gems, and telephone and power lines that connect and abstract. These themes through their simplicity evoke a sense of familiarity and inclusion, which brings the viewer comfortably into the canvas and introduces them to a vibrant conflict. A conflict between composition, surface, representation, and a battle between an almost graffiti like graphic flatness with a heavy-handed painterly approach. I use unnatural perspectives, Architectural line and vibrant surface colors with rhythmic gestures that illuminate the relationship between man made structures, and it’s chaotic natural background. I believe that for every architectural man made action, there is a reaction created in nature that presents this beautiful organic abstraction. Nature versus Man, Progress versus Preservation; My compositions start simply on paper but change often on canvas or birch panels. Paint is applied layer upon layer and is sanded, scraped, and repainted. The history as to where the painting started and where it has progressed from is vital. Color, balance, gesture and a brilliant luminosity over shadow any notions of what should be representational

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