BIO

Edie currently lives in Portland, Oregon, and teaches printmaking and drawing at Mount Hood Community College. Edie has a home studio and prints letterpress at Independent Publisher's Resource Center.  She is a member of Blackfish Gallery in the Pearl District of Portland, and her book work is represented by Passages Bookshop in Portland. Edie is a recipient of numerous awards and grants, including a Jerome Emerging Artist Fellowship, and two Minnesota State Arts Board grants. She has attended several residencies, including those at Kala Art Institute, InCahoots, Minnesota Center for Book Arts, and an upcoming Professional Development residency at the Center for Contemporary Printmaking.

Artist Statement

     The current state of our world makes some of the most steadfast elements in our lives in flux. Even defining my creative practice changes week to week. But there are elements that have remained throughout nearly a decade. I’m interested in the difference between storytelling and truthtelling. From the idea of a “reliable narrator”, to the stories we tell ourselves for comfort. This extends into the classification of a source as ‘fake news’ that could be used to deny credibility of a source, or as a method of misdirection. How does one distinguish storytelling from truthtelling? 

 

     The landscapes and spaces in my work encompass the feelings of impending doom when we reflect upon the environmental and contemporary political climate. Who will be left to take stock of the world we have created? Who will regard the mountains of capitalism's wreckage, sunken among the waters of catastrophic flooding? Because of these numerous and growing fears, charlatans and swindlers continue to profit from the manufacturing of comfortable fantasies and distractions. Manipulations of facts by politicians can create affective smoke and mirrors to appease the fears of some. Within the speculative worlds I create, there is a found pleasure in the remnants of a more analogue age. The marquee is an ancient mode of advertising, with even fewer characters of expression than a tweet. This abbreviation of opinions can mirror the abrupt and meme-like way we currently communicate. 

 

    One word that often appears in my brainstorming is “Truthiness”. Truthiness was first coined by Stephen Colbert on the Colbert Report on October 17, 2005. Colloquially it is meant to describe a feeling of a fact, one that is felt instinctively to be true, and with no direct connection to actual facts. Truthiness can be used maliciously when falsehoods are presented as fact, or more benignly when beliefs are ignorantly asserted as truth. 15 years later, this word is even MORE relevant. The truth of a matter is confirmed or dismissed by a leadership when it is convenient to their agenda. Feelings and wishes are presented as facts, and facts are dismissed as “fake news”. In conjunction with our struggles to determine fact from fiction, we are questioning the agenda behind ‘truthiness’ with even more skepticism and criticism. 

 

     I am and will always be in love with the form of the multiple and its equitable access. The history of the multiple is deeply egalitarian, and this appeals to my many socialist ideals. My work being of both a political and personal nature is carried through the vehicle of the multiple, and echoes the long and rich history of political prints.

Edie Overturf, 2020

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