Interview with: Edward Donald
October 2025
From childhood joy and interest to adult determination and training Edward’s journey is not so different from so many other artists of his generation. Much credit must go to his parents for indulging his interest and not standing as a barrier in his visual arts development. Quite to the contrary he was given rich opportunities and a fair share of luck growing up. Luck came by way of caring art teachers in school and Saturday classes at Detroit Institute of Arts. There is a side bar story in all this that has to do with Edward’s poor health as a child and how it prevented him from taking part in athletic classes. That disappointment provided opportunities for more art training and exploration both in school and at the museum. His circle of friends consisted of musicians, actors, dancers, writers and of course visual artists throughout his formative years. As a result, his childhood orientation was entirely cultural starting in the 1950s and 1960s. Post high school Edward was accepted to The Art School of the Society of Arts & Crafts in Detroit (now College for Creative Studies). Edward was awarded a merit scholarship for original work blending Bauhaus design principles with traditional fashion illustration techniques. Edward immigrated to Toronto, Canada after art school to apply his unique skills to things other than automotive related subjects, the focus in Detroit at that time, which was both exciting and aesthetically rewarding for any young artist in the 1970s. His practice was focused on graphic design and illustration for fashion, package goods and government services like the Ontario Ministry of Natural Resources. A return to Michigan provided expanded opportunities in advertising, graphic design and education leading to fine arts in retirement. Since 2011Edward’s art practice has been totally focused on non-commissioned fine art drawings and paintings using traditional materials and surfaces. His work has sparked interest and resulted in exhibitions throughout North America and Europe.
Welcome Edward, first tell us about your background and why you chose to pursue this career. Do you remember the first artwork that stirred something inside you?
As a child I always felt different from other children in that “art” moved me in ways far beyond surface understanding. When others saw a tree, I felt its movement and was mesmerized by texture and color and how it was in a constant state of transformation. Later I realized that artists were about more than self-realization, they could motivate feelings, and awareness in others. The act of making art took me outside of my personal problems and into other worlds and possibilities. Art could be transformative. No single artist or work of art made a significant impression but rather the overwhelming variety of great work at Detroit Institute of Arts. It left me the feeling that there’s room for everyone among the community of artists. I still feel that way.
How do you reconcile the tension between raw, innate creativity and the discipline required to master your craft?
People often feel “talent” is all that is needed to be successful in the arts however talent is a predisposition not a guarantee of success. Professional training, that includes knowledge of materials, methods and supervised practice over time is a requirement. In addition, discipline, hard work and will are necessary. Talent is a necessary beginning but much more is necessary. There is no tension; only training, determination and hard work, without these things, raw talent may result in only frustration and disappointment.
Your practice is developed around different mediums, a multidisciplinary approach. Tell us about your practice.
The subject and its meaning help determine materials and how I use them. What is my purpose and how do I want the subject presented. My goal is to create an experience for the viewer that is enhanced by materials, composition and technique and not led by it. Mixed materials can resist each other in application leaving the viewer with a feeling of tension or they can harmonize resulting in calm reflection. Materials and technique must serve a purpose that connects to artistic purpose and presentation.
How important is it for viewers to understand the intended message of your work?
Does ambiguity add value, or do you seek clarity in your expression?
I am not a “message” artist and so do not have expectations around viewer interpretation. My work is less about presentation and more about invitation and exploration. There is no singular meaning and therefore the possibility of multiple takeaways. The important thing is to encourage the viewer to explore and discover things in themselves through the artwork. There Is no preplanned meaning except to encourage discovery.
Describe a piece you’ve created that has held the most emotional weight for you. What makes it significant?
That is a difficult question, like being asked which of your children you love more. I have done many things, but my drawing “Illumination” has the most refined representation of my sense of materials, color, composition and emotion. It is one of my botanical series done in pastels, Conti, ink on paper and is only 35.56 cm square. For years I was known as a figurative artist but now my botanicals are getting more notice. I still do figurative pieces.
Do you feel a personal connection to your subject matter is essential? How has this connection shaped your work?
Oh yes, there must be some kind of connection between artist and subject, intellectually and emotionally. My work is a response to input but also an exploration of what I see and feel in that moment.
We are at the end of this short interview; would you like to add something about your artistic research?
How did you find the collaboration with our gallery?
It is interesting the term “research” is used. My practice, and my intent is to always “search” into both my subject and the possibilities my materials provide. I have found it best to assume nothing and to approach life and work with openness and a sense of wonder. The world of man is often violent and unpleasant, but we artists can be so much more than a mirror to what we see and experience, we can be an alternative. That is my purpose.