Wednesday, October 29, 2014

Dispatch: Puerto Rico

My work was included in Dispatch: Puerto Rico (survey)
written by Guggenheim's curator Pablo Leon de la Barra

Friday, October 17, 2014


curated by Ryan Travis 


67 West st #320, Brooklyn, NY 11222

October 24 – November 29, 2014
Opens October 24th 7-10pm
John Phillip Abbott, Daniel Albrigo, Scott Anderson, Brian Belott, Marissa Bero, Michelle Blade, Morgan Blair, Eric Carlson, Jacob Ciocci, Brian Cooper, Matthew Craven, Ryan De La Hoz, Bill Donovan, Lauren Ivy Dudko, Austin Eddy, Cassie Edwards, Madeleine Ehrhardt, William Emmert, Ron Ewert, Amir H. Fallah, Andreas Fischer, Travis Fish, Ted Gahl, Richard Galling, Ethan Gill, Magalie Guerin, Trenton Doyle Hancock, Joseph Hart, Cody Hudson, Huskmitnavn, Matt Irie, David Jien, Kiel Johnson, Stacie Johnson, Ben Jones, Kara Joslyn, Michael Krueger, Alex Kvares, Jessica Labatte, Jeff Ladouceur, Eric Lebofsky, Austin Lee, David Leggett, Sofia Leiby, Matt Leines, Dave Lloyd, Matt Lock, Tom Long, Morgan Manduley, Keegan McHargue, Taylor Mckimens, Bill McRight, Easton Miller, Mark Mulroney, Marcie Oakes, Jonah Olsen, Robyn O’Neil, Hilary Pecis, Joyce Pensato, Cleon Peterson, Josh Reames, Carmen Price, Sara Greenberger Rafferty, Scott Reeder, Tyson Reeder, Amber Renaye, Christian Rex van Minnen, John Riepenhoff, Steve Ruiz, Louis Schmidt, Allison Schulnik, Adam Scott, Eric Shaw, Casey Jex Smith, TL Solien, Edra Soto, Ben Stone, Devin Troy Strother, Marissa Textor, Jeremy Tinder, Shalia Tulze, James Ulmer, Sarah Weber, Nick Wilkinson, Sara Willadsen, Bud Wizzo, Scott Wolniak, Eric Yahnker

Thursday, October 16, 2014

Dock 6 Design & Art Series #8

    photo by Michael Soto

Artists at Work series by Kevin Nance

Say Everything


National Museum of Puerto Rican Arts & Culture

Inaugural exhibition
On the news:


3Arts / Rauschenberg Residency Fellow
Rauschenberg Foundation, Captiva, Florida
Photos at the studio courtesy of Laurie Lambrecht

Wedding to Unknown by Alberto Aguilar

collaborating with The Wedding Cake Project

Dock 6 Design & Art Series #7

Tuesday, March 04, 2014

Western Exhibitions, Chicago

The Seerveld Gallery presents:

Excess of Joy: an exhibition of new work by Edra Soto

Exhibition dates:            February 27 – March 26, 2014
Opening reception:        February 27, 6-8pm (artist talk at 6pm)

The work of Edra Soto strives to form a parallel between the basic materials that the artist uses and her Caribbean, African, Spanish and Anglo-American influences and heritage. Her work tends to draw upon childhood memories and her religious upbringing. Soto aims to create a space of reflection by bringing together a rich environment of images and shapes that were made in a simple and basic manner. 

Along these lines, Excess of Joy depicts portraits as masks, influenced by African and Caribbean imagery. Culturally omnipresent, masks possess the qualities of being protective archetypal devices for either a living organism or a myth. Soto amplifies her moral and emotional concerns by confectioning an image that is made with simple materials: gouache, graphite and paper, and influenced by the symmetrical architecture predominant in ecclesiastic art that the artist frequented during her formative years.

Excess of Joy brings together Soto’s latest drawings and a sound piece: respectively, dual comedy portraits, followed by the sound of Soto’s laughter coming from a record player. Produced in an edition of 250, the artist invites the audience to play the 7” record from a turntable while viewing the exhibition.

Thursday, October 03, 2013

Monsters and Dust

Friday, August 09, 2013


4833 rph
The Center Program
Hyde Park Art Center, Chicago

The first iteration of Edra Soto’s Graft, a wood screen reminiscent of a wrought iron gate was installed at Terrain, a residential exhibition space in Oak Park. Much like the theatrical device of a scrim, Graft functioned as a wrought iron metal screen where it created a breathable barrier between these two exterior zones. 

Wrought iron, an easily malleable steel alloy is a common material that was utilized to make many early structures and bridges especially in 19th Century Chicago.  In terms of both structure and aesthetics, the patterns created at this time with this alloy were the result of an important dialogue between the dominant schools of the Beaux Art and the Polytechnique, which helped to mold the re-emergent city of Chicago.  Louis Sullivan and Frank Lloyd Wright evolved these geometries within stained glass and screens, by abstracting nature and referencing the horizontality of the landscape. Wright also created screens within the interior space that were often made out of wood borne out of his deep devotion for Japanese design.

In Graft II, Edra Soto continues to reference this visual dialogue of interlocking geometries by infusing them with the flavor that only a rich storyteller can offer.  The patterns here are playful and infuse the interior space with her own unique personal style.  Born in Puerto Rico, Edra Soto’s patterns are imbedded with a steeped tradition of iron porch screen fences with layered levels of engagement. This screened-in space functions as both a protective element as well as a logical outgrowth of window screening.  This ambiguous dialogue becomes new curb appeal for Edra’s Graft (II), which is also evidence of the rich collective nature of Soto’s work as she actively stirs up dialogue within her community.  Architecture at its most ideal state is made for the public and works to break boundaries and unify communities. 

Jefferson Godard