Edwin was born in Feltham, Middlesex, England in May 1949Owing to poor housing conditions, which were prevalent following World War II, his early life was plagued by ill health. He simultaneously contracted polio and measles, which left him delicate and with no other permanent problems apart from poor balance and partial deafness. These conditions precluded any interest in physical or sporting activities, making it a logical expedient for him to learn drawing and elasticise modelling. At six years old, Edwin was already a competent draftsman, electing to draw all manner of subjects but especially aircraft and strange monsters, both of which became perennial favourites. Edwin?s childhood proved crucial to his later development as an artist, to such an extent that most paintings are a voyage back to this innocently mischievous and magical state. It was not until well into his adulthood - when he was 24 - that he began to paint, yet somehow the full impact of visual stimuli from the distant past of his childhood made its influence apparent. Without being consciously aware of it, Edwin was a discriminating observer, being attracted only to imagery that was rendered with care and imagination. Comics, especially the Eagle, illustrated text books and encyclopaedias were absorbed with a voracious appetite. At seven years old, he became mesmerised by the rain forest paintings of Rudolph Zallinger, which we re published in a Time/Life encyclopaedia during the 1950s. Even today Edwin produces a painting within this genre as a homage to a man he considers to be a wonderful artist. Edwin feels that he has developed a heightened sense of the absurd. This, coupled with a childlike perspective on human activity and foibles, defines his artistic identity. It is the sense of the absurd that has led to the unique creation of his world of Cherries. The name Cherry derives from the Cockney rhyming slang "Cherry Hogg" meaning dog. However Edwins Cherries are neither human or dog but beings that live in a parallel universe. He claims that our purest and most perceptive notions occur at a young age, unpolluted by outside opinion or educational control. The conditioning of life itself brings confusion, indecision and problems in myriad forms, warping or modifying notions in progress. Edwin?s attempt to be the eternal child is inherent in his work, yet unmistakably the effects of alienation, failed relationships and wry understanding of the human condition are clearly visible. He is saddened by the fixed notion that we are half demented species stifled by a perpetual need to control, riddled by egotism and frequently lacking to sustain co-operation towards any common good. In short, he sees us, and indeed himself as utterly, but wonderfully absurd. His painting is aimed at presenting mankind in its most natural guise- Absurd