New York
Melvin Edwards’s head-size, welded metal abstractions draw you in like black holes, revealing themselves gradually. Out of the darkness, individual elements emerge, some menacing—knives, broken forks, machete parts, and chains—others innocuous—horseshoes, locks, bolts, and drill bits. All the common detritus of industrial civilization makes an appearance, mirroring commonly used items in everyday life. These found objects are absorbed into an informed aesthetic in a manner that is reminiscent of, but distinct from, that of David Smith, in part due to Edwards’s expressive use of welding drips, which often add a vital element. In MMOZ (2005), for instance, the welds look like thick keloid scars, while the drips spreading over the surface of the dense Libya suggest hair. …see the entire review in the print version of July/August’s Sculpture magazine.
