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Check out Don Edler’s Artwork

Today we’d like to introduce you to Don Edler.

Don, we’d love to hear your story and how you got to where you are today both personally and as an artist.
In February 2017, I launched ELEVATOR MONDAYS, a social exhibition space built inside a decommissioned 4ft x 6ft freight elevator in my shared studio building. This project developed out of “Working Class Mondays” a social initiative I organized with John Drue Worrell from Summer 2015-Winter 2016, the project revolved around weekly Monday night community BBQs at our studio building. These pot-luck events were social opportunities for members of the LA art community to come together and hang out once a week with friends and food. Following in this tradition, ELEVATOR MONDAYS functions as a social space for art and dialogue. The intimate scale and discrete location of the space allows for a more personal, conversational experience for both the viewers and the artists.

Curatorially, each exhibition is organized around the conversational potential of the works, I consciously bring together works and artists that might not otherwise be in dialogue in order to see what might happen when they are exhibited together. These juxtapositions often create exciting conversational moments within the space, and given the size of the space, the viewer is directly immersed in these moments.

As a sculptor interested in the histories, relationships, and phenomenological dialogues around objects I understand ELEVATOR MONDAYS as a uniquely exciting platform for the display and consideration of objects. The scale of the space in relation to both the art objects and the body of the viewer creates a viewing experience that highlights the relationship between the body and the object, and the space between. By starting the conversation within the space, ELEVATOR MONDAYS functions as a jumping-off point for connections, relationships and dialogues that continue beyond the limitations of a gallery.

We’d love to hear more about your art. What do you do you do and why and what do you hope others will take away from your work?
My tablet and furniture sculpture are made of composite wood and foam boards I laminate together, then carve and sculpt, then paint with a polymer paint and finally coat in a thick layer of homemade surf wax. This process, the materials, and the colors I use all relate to my experience growing up in South Florida and building my own surfboards since I could not afford to buy them. The experience of learning how to build my own boards in my garage taught me the potential of building/making something on my own, figuring out what materials I needed, and learning the processes I needed to know. This experience taught me the value of my personal agency and the importance of taking on projects and seeing them through. I use this process and materials specifically because it relates to a primitive time in my own development, it is the first industrial process I learned, and it also coincides with my early interests in archaeology, excavation, and pre-colonial cultures, common narratives in the sparsely developed ancient wetlands in South Florida.

The sculptures are influenced by ancient artifacts and archaeological sites. I am interested in these reference points because they exist beyond the limits of our histories and languages. Many ancient objects and sites have lost their meaning to time, contemporary researchers speculate on the nature of an ancient tablet or structure, but the true meaning is often dissolved. The transience of meaning and language relative to objects and images is one of the main points of interest in my work – how does time affect the nature of an object? And how does our understanding of an object inform our sense of history? Tools, figurines, sex toys, clothing and furniture are common motifs in my work because I am interested in what our objects reveal about ourselves, our politics and our bodies.

The stereotype of a starving artist scares away many potentially talented artists from pursuing art – any advice or thoughts about how to deal with the financial concerns an aspiring artist might be concerned about?
It’s hard, and unless you are independently wealthy, it is always going to be hard. I live in my studio in order to save money on rent, it sucks, but it allows me to focus on my work. Sometimes you need to just figure out how to make it work, and make the sacrifices that you have to make.

Do you have any events or exhibitions coming up? Where would one go to see more of your work? How can people support you and your artwork? If you want to support my work, you can buy it.

Contact Info:

  • Website:
  • Email:
  • Instagram: @instadontron OR @elevatormondays

Image Credit:
Don Edler Studio

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