Daniel Edwards’s works address celebrity and popular culture in ways that often stir controversy. The release of his art is generally accompanied by a press release.
Past public sculpture commissions by Edwards include Landmark for Peace: The Martin Luther King Jr. and Robert F. Kennedy Memorial in Indianapolis, for which President Bill Clinton, Martin Luther King III and Senator Ted Kennedy performed groundbreaking ceremonies.
Edwards began as a mask maker in 1980 working for Death Studios in LaPorte, Indiana, where he received his first sculpture training. He sculpted the comic character Zippy the Pinhead for Death Studios under the guidance of Zippy’s creator Bill Griffith, who once loaned the mask to the Ramones as a stage prop upon their request to use during their performance of the song Pinhead.
At the invitation of fashion illustrator Antonio Lopez, Edwards made his first visit to New York City and frequently spent time at Antonio’s studio until the artist’s death in 1987. Edwards was encouraged to draw alongside Antonio, from the models hired to pose for Antonio’s 1001 Arabian Nights. Through Antonio, Edwards was introduced to Andy Warhol at New York’s Palladium, where Lopez and Warhol were judging a transsexual beauty contest. It was there that Antonio suggested that Edwards enroll at Warhol’s new school, The New York Academy of Art. On a scholarship paid for by Andy Warhol’s estate, Edwards attended the New York Academy of Art, and has served on its faculty.
Edwards’s breakout sculpture was 2006’s Monument to Pro-Life: The Birth of Sean Preston, which depicted Britney Spears giving birth on a bearskin rug. His current works of digital assemblages thematically draw inspiration from Euro Disney. The compositions of American cartoon characters with European masterpieces to create these assemblages emulate the cultural assault of the theme park to the senses of 90s Europeans. The combinations, or meshups, as Edwards calls them, often result in socio-political narratives.