Mary Edwards

EXHIBITION/INSTALLATION

Ten Good Years is an imaginative soundwalk drawing on dendrology, bioacoustics and listening to the inner life of trees, whose narrative yields the illusion of time and space slipping, extending or contracting through its soundscape composition. This collaborative project shared by Mary Edwards and Kristine Diekman is originally produced for the 2025 CENSE Beyond Listening Walking-with changes (Cross European Network for Sonic Ecologies) in Ljubljana, Slovenia. The work will be on exhibition September 23-28, 2025.

“By walking-with and listening to the “cultural turn” toward posthumanism we contribute to a shift in understanding humanity’s place within the world, challenging human exceptionalism and dominance. By walking-with and listening we engage in embodied practices that stimulate awareness of limited planetary resources and humanity’s destructive impact, from climate change to biodiversity loss. Such practices urge us to rethink the relationships with non-human life, technology, and ecosystems, advocating for an ethical shift and interdependent approach, to inspire coexistence for more sustainable futures.”

DOCUMENTARY

American Graveyard, a feature-length documentary, will tell the sweeping story of Black history in America—beginning with a single cemetery on Staten Island, NY. The interred in this burial ground—which was destroyed in the 1950s—represent a population of free and formerly enslaved people from New York and New Jersey, and as far away as Virginia and the Carolinas. Through on-camera interviews, rare archival footage and photographs, letters, and courtroom testimonies, American Graveyard will uncover history that has been hidden for centuries. Mary Edwards is among the selected multidisciplinary artists creating their interpretation of Cherry Lane Cemetery for the film and resulting exhibition. Coming 2027.

DOCUMENTARY

Sounds Interesting: The CAMPBIENT Experience

CAMPBIENT: The 44 Hour Sound Art Residency is an annual event that brings together select artists to a Washington State Park for a weekend of conceiving, recording, and realizing a sound art composition. All audio production and activities are off-grid and battery-powered. By utilizing state parks rather than private land, the residency underscores an awareness of the commons and an obligation for its stewardship. Public spaces that straddle the natural and built environment are rich with questions of social equity and accessibility, environmental justice and sustainability, as well as those of artistic process, critical analysis, and aesthetics. It is these questions that are explored sonically and dialogically throughout the residency. Composer and sound artist Mary Edwards, initially invited as the Special Guest Artist-in-Residence before assuming a new role as producer to CAMPBIENT, contributes her knowledge, insights, and experience to the documentation of Volume 5 of CAMPBIENT, which took place June 6-9, 2024. More info: https://campbient.org/

VIDEO

Everywhere we Are is the Farthest Place commemorates the first World Day for Glaciers, declared by the UN in its resolution A/RES/77/158 along with the International Year of Glaciers 2025, encourage us all to act to preserve the vital role of glaciers in sustaining life on Earth for generations to come. 

CONCERT

Performing “The Meltwater Channel” movement from Everywhere We Are is the Farthest Place in concert at The Hamptons JazzFest 2025 at The Church at Sag Harbor. Mary Edwards (accompanied by Michael Eaton on soprano sax) gently prepared the Mid-Century Steinway with select accoutrements to emphasize the piano’s innate percussive properties.