Annie Edwards

Executive Disfunction: Excuse Me, 25 Silicone, PLA, Glass, Resin, Plaster, Acrylic Paint, Chain, Video, Tights, Metal, Acrylic Tube, Wood This piece is currently on display @hyphastudios , Marble Arch until the 24th of May! Thank you so much to @sitnalta_2702 for your continued support. Video description: the sculpture is designed to interact with the audience. It calls out for different (fragile and untouchable) parts of itself scattered on the ground. The sculpture describes what the different parts of the scattered self are more suitable for, whilst maintaining a critical dialogue with itself in the process. Executive Disfunction: Excuse Me, references the fragmented female identity and the impossible, unrealistic and subliminal expectations to which we are held. Its aesthetics point to the medicalised, clinical female body and it's misrepresentation in science. Synthetic, silicone iterations of flesh speak to normalised beauty standards and the artists personal reliance on synthetic processes to nourish and maintain skin health. Having been recently been diagnosed with dyspraxia, this sculpture fleshes out a physical embodiment of a previously undiagnosed condition. Carol J Adams's Sexual Politics of Meat is also referenced, drawing parallels between the mass consumption of meat and the objectified, consumed female body. #feministsculpture #animatedfeministsculpture #fineartsculpture #neurodivergentfeministsculpture #sculpturalcritique

Executive Dysfunction (Detail), 2025, Animatronics, Installation, Performance, Multidimensional . Thank you to @british.wax and @bentleyadvanced for the sponsorship and for making the piece possible. Your products are of the highest quality! . . Executive Dysfunction is a performative installation by Annie Edwards that explores the parameters of the body and mind under systems of control. Informed by feminist theory and lived experience, the work explores how trauma, neurodiversity, and societal expectation intersect. Annie draws on personal encounters with PTSD, dyspraxia, and gendered medical bias to challenge the dominance of linear productivity, perfection, and coherence. Using her body as a site of resistance, she engages with fragmentation, absurdity, and humour to subversively undermine the myth of the functional, beautiful and the grotesque subject. Humour is used as a subversive tool to critique and debunk the misogynist notion that women aren’t funny and do not have the capability to be as funny as men. The performative element is both messy and precise—disrupted gestures, repeated attempts, and laboured rhythms mimic the executive failures often kept hidden from the exterior gaze. Drawing parallels between domestic labour, medicalised femininity, and industrial systems of meat production, Annie positions dysfunction not as deficit but as critique. Executive Dysfunction reveals the cost of expectation, masking, compliance, and hyper-efficiency—reframing failure as a feminist, neuroqueer strategy of refusal and embodied protest. Executive Dysfunction unpicks the fragmented and polarized expectations placed on women and their bodies through a sexual lens. Mechanized and controlled pleasure is symbolic of the objectification of the sexualized female body. Gender roles and dynamics are explored in the interplay of power between the ‘doctor’, the objects, the machines and the ‘subject(s)’. The responsibility of the gaze as judgement is placed on the viewer, causing feelings of voyeurism, introspection and concern. . . #sculpturalinstallation #sculpturalperfprmance #fineartsculpture #contemporarysculpture #animatronics @pssa_sculpture

Executive Dysfunction, 2025, Animatronics, Installation, Performance, Multidimensional . Thank you to @british.wax and @bentleyadvanced for the sponsorship and for making the piece possible. Your products are of the highest quality! . . Executive Dysfunction is a performative installation by Annie Edwards that explores the parameters of the body and mind under systems of control. Informed by feminist theory and lived experience, the work explores how trauma, neurodiversity, and societal expectation intersect. Annie draws on personal encounters with PTSD, dyspraxia, and gendered medical bias to challenge the dominance of linear productivity, perfection, and coherence. Using her body as a site of resistance, she engages with fragmentation, absurdity, and humour to subversively undermine the myth of the functional, beautiful and the grotesque subject. Humour is used as a subversive tool to critique and debunk the misogynist notion that women aren’t funny and do not have the capability to be as funny as men. The performative element is both messy and precise—disrupted gestures, repeated attempts, and laboured rhythms mimic the executive failures often kept hidden from the exterior gaze. Drawing parallels between domestic labour, medicalised femininity, and industrial systems of meat production, Annie positions dysfunction not as deficit but as critique. Executive Dysfunction reveals the cost of expectation, masking, compliance, and hyper-efficiency—reframing failure as a feminist, neuroqueer strategy of refusal and embodied protest. Executive Dysfunction unpicks the fragmented and polarized expectations placed on women and their bodies through a sexual lens. Mechanized and controlled pleasure is symbolic of the objectification of the sexualized female body. Gender roles and dynamics are explored in the interplay of power between the 'doctor', the objects, the machines and the 'subject(s)'. The responsibility of the gaze as judgement is placed on the viewer, causing feelings of voyeurism, introspection and concern. . . #sculpturalinstallation #sculpturalperfprmance #fineartsculpture #contemporarysculpture to #animatronics @pssa_sculpture

ACL Rupture 4/11/14
 → ACL Reconstruction 19/11/15 (calf muscle graft — a technique no longer performed on women) → 2nd ACL Rupture 19/01/2025 (MRI inconclusive; doctors claim insufficient evidence for surgery despite the joint dislocating during every performance)
 → Meniscus Injury 13/03/26 (result of untreated instability) Consultation:
Surgeon shakes patent’s hand like he’s a celebrity.
Celebrity is more concerned with identifying the other white male celebrity who performed the previous operation than with the details of the injury. 10/04/25 Still no surgery date, no physio, no aftercare. Insult to Injury critiques the medical gaze and the systemic erasure of women’s experiences in healthcare. It asks: who creates disability?
Whose knowledge is believed?
How is control maintained through the performance of care? It is both personal testimony and collective indictment.
 It is a refusal.
 It is data where data does not exist. Thank you so much to @a_knee___ for this incredible performance! We couldn’t get enough, you must check out her work! Also a big thanks to @cammyleeleelee

SHOW GARDEN PV 16 May 6-9, with afters at Monty's Continues 17-29 May 78 Rowditch Lane, SW11 5BX ///pint.woods.vine ‘Show Garden’ is an exhibition and application for entry into the Chelsea Flower Show 2028, ‘the peak of horticultural excellence’. Le Jardin Project transforms a South London plot into a sculpture garden, or a garden that holds sculpture, or a show garden that is also an artwork: where does one end and the other begin? A show garden is either a display of the triumph of harmony between people and nature, a happy coexistence, or a folly meant to demonstrate how nature can be forced into submission, and dragged into the channels of design. Engaging bureaucratic language, design, sculptural enquiry and horticultural excellence, we mix up the rules and blur the lines between them. The exhibition mirrors the official dates of the Chelsea Flower Show, borrows its stringent judging criteria, and aspires to the extravagant scent of peonies in the air. There’s no dress code, but hats are strongly recommended Isobel Atacus | Emma Black | Stu Burke | Ana Maria Chamucero | Tom Coates | Annie Edwards | Damla Erduran | Fiona Grady | Sam Haynes | Sandra Lane | Yoojin Lee & Giuseppe Termine | Judy Maxwell-McNicol | Pagan Mckenzie @isobelatacus @eblack.emma @stuburkeart @chamucero_ @coatseyy @a_knee___ @erduran._.damla @fiona_grady @samhaynessculpture artysandralane @nijooyl _giuseppetermine @weemoodyjudy @pmckartstuff @le_jardin_project #sculpturegarden #showgardensculpture #sculpturalgarden #montysmanifesto #chelseaflowershow

OPEN CALL: Joya: Flujo 2026 🌵 18 July – 15 August 2026 Joya: Flujo is a four-week intensive themed residency hosted by @joya_air and curated by Annie Edwards, @a_knee___ exploring body-based performance and animatronics in a unique desert landscape. This programme invites artists to experiment with embodiment, autonomy, and movement—developing hybrid works that merge flesh, technology, humour, and corporeality. With dedicated time, studio space, and a collaborative environment, participants are encouraged to take creative risks, exchange knowledge, and push the boundaries of animated bodies in landscape. The residency culminates in a touring exhibition sharing outcomes with wider audiences. #themedinternationalresidency #artsandscienceresidency #bodyanimatronicsresidency #movenentbasedarts #bodyaninatronicsproject for more info follow the link in our bio

Daily Grind, 2026 Joya: AiR Residency @joya_air , Performative Sculpture: Foraged Spine, Nasal Cannula, Motor, Plaster, Multidimensional . . Daily Grind draws from excerpts of a letter found among my grannie’s belongings after she died: “Why preserve life when all dignity and decency has gone…’ ‘we are not machines to be endlessly tinkered with so long as something works…” (Peggy, 2012). The sculpture circles the tension between functionality, ephemerality and utility, questioning what it means to keep something running—repetitively, robotically—simply because it can. Movement becomes rhythm, maintenance, a labour without resolution or cure. Operating somewhere between animation and exhaustion, motion is both necessary and unsustainable. Joints resist stillness; not built for immobility, they falter under repetition. The body shifts in capacity—more pliable, more open at certain points, then unstable, failing. Cycles of flexibility and collapse echo a hormonal rhythm, where strength and fragility are not fixed states but passing conditions. Against this, the pressure toward beauty and perfection persists: the urge to preserve, to smooth, to sustain vitality through synthetic means. Daily Grind lingers here, between maintenance and decline, asking what it means to inhabit a body that is at once functional and failing. #performativesculpture #artistresidency #feministsculpture #sculpturalperformance #womendoanimatronics

Daily Grind, 2026 Joya: AiR Residency @joya_air , Performative Sculpture: Foraged Spine, Nasal Cannula, Motor, Plaster, Multidimensional . . Daily Grind draws from excerpts of a letter found among my grannie’s belongings after she died: “Why preserve life when all dignity and decency has gone…’ ‘we are not machines to be endlessly tinkered with so long as something works…” (Peggy, 2012). The sculpture circles the tension between functionality, ephemerality and utility, questioning what it means to keep something running—repetitively, robotically—simply because it can. Movement becomes rhythm, maintenance, a labour without resolution or cure. Operating somewhere between animation and exhaustion, motion is both necessary and unsustainable. Joints resist stillness; not built for immobility, they falter under repetition. The body shifts in capacity—more pliable, more open at certain points, then unstable, failing. Cycles of flexibility and collapse echo a hormonal rhythm, where strength and fragility are not fixed states but passing conditions. Against this, the pressure toward beauty and perfection persists: the urge to preserve, to smooth, to sustain vitality through synthetic means. Daily Grind lingers here, between maintenance and decline, asking what it means to inhabit a body that is at once functional and failing. #performativesculpture #artistresidency #feministsculpture #sculpturalperformance #womendoanimatronics

Daily Grind, 2026 Joya: AiR Residency, Performative Sculpture: Foraged Spine, Nasal Cannula, Motor, Plaster, Multidimensional . . Daily Grind draws from excerpts of a letter found among my grannie's belongings after she died: “Why preserve life when all dignity and decency has gone…' 'we are not machines to be endlessly tinkered with so long as something works…” (Peggy, 2012). The sculpture circles the tension between functionality, ephemerality and utility, questioning what it means to keep something running—repetitively, robotically—simply because it can. Movement becomes rhythm, maintenance, a labour without resolution or cure. Operating somewhere between animation and exhaustion, motion is both necessary and unsustainable. Joints resist stillness; not built for immobility, they falter under repetition. The body shifts in capacity—more pliable, more open at certain points, then unstable, failing. Cycles of flexibility and collapse echo a hormonal rhythm, where strength and fragility are not fixed states but passing conditions. Against this, the pressure toward beauty and perfection persists: the urge to preserve, to smooth, to sustain vitality through synthetic means. Daily Grind lingers here, between maintenance and decline, asking what it means to inhabit a body that is at once functional and failing. #performativesculpture #artistresidency #feministsculpture #sculpturalperformance #womendoanimatronics

Annie Edwards’ essential area of focus is the human body. Annie’s multidisciplinary practice distorts our familiar sense of reality by incorporating robotic, figurative sculptures with abstracted skeletal forms. Her installation and performances aim to understand the body from biological, psychoanalytical and social perspectives. Annie’s research choreographs the tension between body and machine, embedding visceral knowledge into mechanical gesture. Her work references wider systems of control present in domestic, medical and industrial environments, drawing on her personal experience of trauma, neurodiversity, atopic illness, and her background in farming. Through processes of building, dissembling, and rebuilding, Annie’s fragmented forms evoke the containment and expression of trauma within the brain and body. Drawing from abattoir architecture and her rural upbringing, she creates visceral metaphors of consumption, where bodies are reduced to objects within a system. Annie uses humour as both a disarming and subversive tool, addressing the parts of the body we are conditioned to shy away from. Her work embraces the grotesque and the abject as strategies to confront the beauty and discomfort of embodiment—using the language of the body to expose what is usually hidden, repressed, or deemed unacceptable. Annie’s work asks the viewer to reckon with their own embodiment, their own complicity, and their own capacity for tenderness. Annie Edwards has exhibited widely across the UK and internationally, with current participation in Bow Arts’ international performance and moving image biennial Visions in the Nunnery (2025), curated by Rosie Gibbens. Other recent exhibitions include 1,2,3 Alt at Hypha, Marble Arch (2025), All Mouth No Trousers at Three Rooms, Wandsworth (2025), and Blooming on Paper at Somerset House (2025). We are so excited to have Annie perform at @brixtonjamm Be there! 10.04.26

Joya: guest curator / Royal College of Art (group residency) / Annie Edwards Annie Edwards’ essential area of focus is the human body. Annie’s multidisciplinary practice distorts our familiar sense of reality by incorporating robotic, figurative sculptures with abstracted skeletal forms. Her installation and performances aim to understand the body from biological, psychoanalytical and social perspectives. Annie’s research choreographs the tension between body and machine, embedding visceral knowledge into mechanical gesture. Her work references wider systems of control present in domestic, medical and industrial environments, drawing on her personal experience of trauma, neurodiversity, atopic illness, and her background in farming. Through processes of building, dissembling, and rebuilding, Annie’s fragmented forms evoke the containment and expression of trauma within the brain and body. Drawing from abattoir architecture and her rural upbringing, she creates visceral metaphors of consumption, where bodies are reduced to objects within a system. Annie uses humour as both a disarming and subversive tool, addressing the parts of the body we are conditioned to shy away from. Her work embraces the grotesque and the abject as strategies to confront the beauty and discomfort of embodiment—using the language of the body to expose what is usually hidden, repressed, or deemed unacceptable. Annie’s work asks the viewer to reckon with their own embodiment, their own complicity, and their own capacity for tenderness. Annie Edwards has exhibited widely across the UK and internationally, with current participation in Bow Arts’ international performance and moving image biennial Visions in the Nunnery (2025), curated by Rosie Gibbens. Other recent exhibitions include 1,2,3 Alt at Hypha, Marble Arch (2025), All Mouth No Trousers at Three Rooms, Wandsworth (2025), and Blooming on Paper at Somerset House (2025). In partnership with the Royal College of Art, this group residency at Joya: AiR was curated by guest artist Annie Edwards (GBA 26, MA RCA, BFA)

Annie Edwards @a_knee___ Executive Dysfunction, 2025, Animatronics, Installation, Performance, Multidimensional
 Annie Edwards centres her multidisciplinary practice on the human body, merging robotic figures and skeletal abstractions to unsettle familiar realities. Through installation and performance, she examines embodiment across biological, psychoanalytic and social dimensions, choreographing tensions between flesh and machine. Skin becomes both surface and symbol, a threshold between exposure and concealment. Fragmented, rebuilt forms evoke trauma, systems of control and architectures of consumption, informed by her rural background and references to medical and industrial environments. Humour operates as a disarming device, allowing the grotesque and abject to surface. Edwards ultimately invites viewers to confront vulnerability, complicity and the uneasy, tender conditions of being a body today. Images: 1. Voice to the Wordless Body, 2025, Motor, Arduino, Fishing Wire, Silicone, PLA, Plaster, Acrylic Paint, Nasal Cannula, Metal, Tape, Acrylic Chair, Wax, Oil Paint, 100x70x100cm. 2. Excuse Me, 2025, Silicone, Video, Phone, Tights, Metal, 100x50x30cm. 3. Bent the Knee, 2025, Body Scan, Blender, PLA, Chain, Multidimensional. 4. Squeeze You In, 2025, Silicone, Acrylic, Nuts and Bults, 30x30x5cm. 5. Knelt Above You, 2025, Body Scan, Blender, PLA, Chain, Meat Hook, Metal Frame, 200x100x150cm 6. Executive Dysfunction, 2025, Performative Installation, Multidimensional. 7. Voice to the Wordless Body, 2025, detail.