EDWINA GOLDSTONE (b. 1962. England) is a visual artist working across multiple disciplines, from sculptural installations to painting, drawing, live art and socially engaged art projects. Goldstone is known for the use of found objects in her work that are imbued with personal histories and cultural significance.
Her works have been supported by the Arts Promotion Centre Finland, Kone Foundation, The Finnish Cultural Foundation and the City of Riihimäki.
Her works are in private collections across Europe and in public collections in the UK and Finland.
Among the curators who have been interested in her work: Hamm & Kamanger, Anna-Kaisa Rastenberger and Marjatta Ojan.
Studied BA Design and Illustration at the Suffolk Collage of Art & Design, UK (1989 - 91), then later an MA in Fine Art at the Norwich University College of the Arts, UK (2007 - 08) she is now living and working in Riihimäki, Finland. Edwina has exhibited both nationally and internationally as well as participating in international Art Fairs, her work and research has been presented as presentations at national & international conferences/events, including TEH Meeting 72 at TNT in Bordeaux, France- organised in collaboration with ARTfactories/ Autre(s)pARTs, Art and the Neighbourhood. SUPERMARKET - Stockholm Independent Art Fair, International artist-run art fair for artist-run galleries and artists' initiatives.
Goldstone’s work although still firmly informed by drawing now encompasses many disciplines, from sculptural installations to painting, drawing, lens based media, live art and communal/social art projects. Informed by a cross-cultural background and by travelling/living in various countries; she explores the relationships between identity, memory and the geographical imagination, often starting with an archetypal image or object, to explore ideas bound up with memory and cultural recognition. The questions of how we live and particularly how we observe our living are consistent preoccupations. In this it is perhaps in the small gestures of living, in the 'everyday' and in what too easily goes unobserved in the haste of living. She is interested in creating something sincere and emotionally resonant – even though the artwork might be largely based on the second-hand experience of cultural phenomena. The works involve layering of alternate realities, made up from ‘the imagined’ (the handmade), ‘the real’, and ‘the historical’.