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Meet David Eddington in Venice

Today we’d like to introduce you to David Eddington.

David, let’s start with your story. We’d love to hear how you got started and how the journey has been so far.
Why am I doing what I do today, well I dream, I paint; it is really a form of visual research, each work I make is a progression from the previous painting, my intention is to continually push the parameters of what constitutes a painting.

It all started when, as a child, I coveted the wonderful works of art at the Louver or London’s Nation Gallery, the only way to get them was to paint them myself, so I did, relentlessly and, of course, poorly, quickly, while young, perhaps 9 or 10, I realised this was my life. My academic schooling, I wouldn’t wish on anyone, various boarding schools, interspersed with faceless small town state establishments, surprisingly, I was fair academically but was so much better expressing myself visually, one art teacher, encouraged me to attend the local art school. I did and the rest, the whole art world unfolded before me.

After three years as a full-time student at a provincial college, I chose to attend London college, where we studied mural painting for a further three years, lunchtimes would revisit those paintings which as a child had to lead me down to this exciting but difficult road.

Though by this point, I had become as or more interested in the contemporary dialogue within the arts, the 70’s were a great time to be in London, my heroes were working there and I would have lively discussions in the many bars and clubs with artists such as Lucian Fraud, Frances Bacon, Hockney, Derek Boshier, who I still see regularly.

Gallery Siau in Amsterdam mostly dealt with my paintings and during this time I again returned to university this time Nottingham University obtaining an MFA in the Social and Political Influences in Art.

And so my life as a jobbing artist continued while enjoying lecturing at various European Universities. In the year 2000, after being a visiting lecturer at Loyola University I decided to leave my tenured past at Plymouth University and relocate to New Orleans, although still retaining my connections within the UK.

After a year or so with my family we mover to California, driven by the same reason for leaving England, somewhere new and consequently exciting, which it has turned out to be.

Time was when I would do film posters CD and record covers, endless paperback book covers, and illustrations, now have become even more of a “purest” I restrict myself to making my own paintings and recently making constructions, with exhibiting in a gallery there only chance of seeing the outside world.

Overall, has it been relatively smooth? If not, what were some of the struggles along the way?
Re-establishing myself from the UK to California was a difficult road. My reputation wasn’t big enough for it to traverse the Atlantic.

Building a collector base came slowly, leaving any commercial work, book jackets etc. also meant that funds ti pursue my own work dwindled.

And not least adjusting to a different culture.

Alright – so let’s talk business. Tell us about David Eddington – what should we know?
Not a company in the accepted sense, although I do employ people as is necessary. Most of the time, what I do could only be done by me or should I say, I prefer to do most myself, i.e. building stretchers preparing grounds, such as fresh plaster surfaces, building constructions from steel or wood.

Think I am best known for my larger semi-abstract paintings, in California there are so many artists, if anything does set me apart, it could be that I work at my art every day and always do the very best that I can, though there is always a nagging feeling that I should be able to do better! In my defense, I am trying to push my ideas and therefore my work along an experimental pathway never really knowing where it will take me.

Any shoutouts? Who else deserves credit in this story – who has played a meaningful role?
Credit should go to all those who have supported my vision, my introduction into the art gallery world, by way of The Obelisk Gallery London, Gallery Siau in Amsterdam was very supportive, As are galleries and collectors here in the US, Galleries such as Boyd Satellite Gallery NOLA, George Lawson Gallery, I mention Bruce Johnston, the biggest collector of my work. These folk helped through having faith in my work.

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