Since 2014, Edo Rosenblith has created large-scale murals across the metropolitan area, starting with Studio 308 in the Lemp Brewery, Gallery 210 at the University of Missouri-St. Louis, The Contemporary Art Museum of St. Louis, and Luminary Center for the Arts. To prepare for these installations Rosenblith creates dozens of preparatory sketches, where he fills 9×12 inch sheets of black paper with images of humanity in all its various guises—lusting, suffering, crazed, or dim-witted. For the first time these sketches will be shown together. Along with these drawings, Rosenblith will also be exhibiting a state proof edition of “The Cutter” in collaboration with New York printer Derick Wycherly of Harlen and Weaver Press, with the support of a grant from the Regional Arts Commission.
The unifying factor of these bodies of work comes from Rosenblith’s desire to purge his work of all color in order to highlight the formal structure and autonomy of form inherent to his art. This minimal palette correlates to his obsessive interest in line and form, drawing, and monochromatic and tonal values, while developing a complex language of pectoral signs.* The results are often a dense Where’s Waldo-like composition with no visual hierarchy, where viewers select imagery and make meaning on their own. Negras Pinturas work provides a maximalist approach designed to reward the viewer the longer the work is examined.
Edo Rosenblith was born in Tel Aviv, Israel and spent his early years bouncing around America, first in New York, then Arizona, Missouri, and finally Rhode Island, where he earned his BFA in painting at the Rhode Island School of Design. Rosenblith’s work arrives in various mediums—ceramics, drawing, painting, prints, and installations. His work has been exhibited in Brooklyn, St. Louis, Rome, Frankfurt, Bogotá, and Providence. In 2013, Pink a book of his artwork, first appeared on his blog (edosdrawingeveryday.tumblr.com) was published by Fort Gondo Press. He currently lives and works in St. Louis, Missouri.