Edward Merritt
The Long Season

July 19–September 1, 2024

Opening reception
Saturday, July 20, 3–5 PM

Exhibition walkthrough
Saturday, August 3, 1 PM

When Turley moved from its former Green Street location we lost our beloved Garden space, which became a fixture of our 2023 Upstate Arts Weekend. This year, Turley is delighted to present Edward Merritt’s exhibition The Long Season. Part social practice, part painting; Merritt’s works evoke a garden formed from detritus and climate anxiety. In addition to the exhibition inside the gallery, Edward will be placing works from his End of the Day “graffiti” series within a casual walk to the gallery. When found, observers are encouraged to enjoy the works in public space or to take the graffiti works home with them. An exhibition walkthrough and discussion with Edward Merritt led by Sheila Parekh Blum will take place on Saturday, August 3, at 1 PM.

Press for The Long Season

Hyperallergic

Edward Merritt, Arrangement on Grass, 2023, recycled building paint, graffiti en verso, and concrete shards on board, 35 x 40 x 1 inches (framed)

Edward Merritt

Edward Merritt’s recent work draws awareness to social and environmental issues through the use of recycled and repurposed materials. He developed an innovative process to excavate peeling paint in and around urban locations such as old warehouse buildings, train tunnels, bridges, roads, and dump sites. His practice involves collecting graffiti debris—shards and swaths of fallen paint, often hundreds of layers thick—that have succumbed to time and gravity. Merritt celebrates the fact that material that was at once charged with its own rich history can become part of his personal expression.

Merritt’s works in The Long Season at Turley Gallery combine brightly colored botanical imagery with abstract shapes and patterns. The exhibition’s title refers to climate change and the increasingly longer summers we are experiencing in the Northeast. While some may enjoy the warm weather and an extended growing season, Merritt subtly references the negative effects of human activity on our ecosystem. Exploring the fundamental challenge of creating without destroying in return, he places great value on the environmental impacts of his artmaking process. For Merritt, the destructive forces of time unlock the opportunity to create work with elements that would otherwise have become contaminants.

Edward Merritt, Flow Blue Evening, 2023, recycled building paint, recycled concrete board, recycled discarded house paint, graffiti en verso, and recycled found spray paint on wood panel, 72 x 44 x 2 inches

I studied sculpture at Kent State University and continued my education at the Rietveld Academie in Amsterdam, Netherlands. I received my MFA in sculpture from the Massachusetts College of Art. Immediately after, I spent two years assisting in the glass lab at Massachusetts Institute of Technology (MIT).

My early work combined steel and glass to create figurative and abstract sculptural forms. I then spent many years focused on creating within the field of patent design and development. I am the co-founder of Genedics, an invention company holding 98 patents in the realms of telecommunications, clean energy design, holographic imagery, and digital technology. 

I returned to the studio in 2016. Since then, I have been working with two-dimensional panels utilizing materials from urban environments. My recent works draw awareness to social and environmental issues through the use of recycled and repurposed materials. I source and excavate peeling paint in and around inner-city environments and in areas of dirt and water adjacent to old warehouse buildings, train tunnels, bridges, roads, and dump sites. In particular, I collect graffiti debris—shards and swaths of fallen paint, often hundreds of layers thick—that have succumbed to time and gravity.

Exploring the fundamental challenge of creating without destroying in return, I place great value on the environmental impacts of my artmaking process. The destructive forces of time unlock gates of opportunity to create work with elements that would have otherwise become contaminants. I celebrate the fact that the material that was at once charged with its own rich history can become part of my personal expression. My pieces are carefully constructed narratives about human and environmental conditions, introspection, interpersonal relationships, social politics, and unexpected beauty.

Edward Merritt, End of the Day “graffiti” series