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Contemplating human nature in still life paintings – the work of Joanna Edwards
“When I feel the need to paint, I think about a story I want to explore, and set up my still life accordingly. My paintings leave space for viewers to explore their own feelings and identity.” – Edwards
(Kaieteur News) – Inspired by the emotional introspection of Frida Kahlo’s work and the intensity of Willem Claesz’s still life paintings, twenty-nine-year-old Joanna Edwards uses oil paint to explore the quiet beauty and symbolism found in everyday objects. “My work often features arrangements of fruits, draped fabric, glassware, and ceramics – each chosen for their texture, form, and reflective qualities. These objects serve not only as visual elements but also as metaphors for emotion, consciousness, and introspection. Through careful composition and brushwork, I invite viewers to pause and reflect on deeper social and spiritual themes.”
Detail of Fruit and Spirit, oil on plywood, 2ft x 5ft.
Acceptance and Surrender, oil on canvas, 2ft x 3ft.
Time and Consciousness, oil on canvas, 2ft x 3ft.
Edwards specializes in impressionist still life oil paintings that reflect her introspective nature and Christian identity. Reminiscent of 17th century vanitas, a genre of Dutch still-life paintings that feature symbolic objects often attempting to convey ideas of morality and spirituality, Edwards’ work quietly wrestles with ideas of duality; equally epic and understated battles between flesh and spirit, all in a modern, Guyanese context.
Joanna Edwards.
Self-portrait, oil on plywood, 16 x 20 inches.
In her own words Edwards says, “I am currently interested in how inanimate objects speak. My goal is to use objects as symbols and metaphors for human experiences. I take pride in collecting objects like glass jars and bottles, ceramic ware, and fabric, and setting them up into unique compositions. I use fruits and flowers in my paintings. I find that the way fruit and flowers are cut or damaged or freshly picked informs the direction of the painting. I get to use them, along with the non-perishables, to tell stories of identity, or to express intense emotions and ideas. The transparency of glass reminds me of things otherworldly, like spirits, but can also represent invisibility and loss, depending on the context. When I arrange my objects, I consider texture, colour, and lighting. I think about how a shiny new object can change a painting’s narrative once it is placed beside rotting fruit.”
Edwards currently teaches Visual Art at President’s College. She is also pursuing a Bachelor of Fine Art degree at the E.R. Burrowes School of Art, and is scheduled to graduate in September 2026.
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