This page is a temporary page to give collectors a preview of the upcoming exhibit.
Temi Wynston Edun
Within Reach of Silence
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Opening Reception January 17th, 2026 4pm-6pm |
Show runs from - January 17th, 2026 - April 18th, 2026 |
Preview (collector's advance viewing)
As a valued member of our Collector's Preview list, you have the unique opportunity to see all of pieces that will be part of the exhibit before it opens to the public. First access to all of the work and the opportunity to purchase your favorite/s before they become available to everyone.
This exhibit opens January 17th.
Below are images of all of the pieces that will be on display in the exhibit as well as reserve pieces that will replace sold pieces as those paintings go home with collectors.
This exhibit opens January 17th.
Below are images of all of the pieces that will be on display in the exhibit as well as reserve pieces that will replace sold pieces as those paintings go home with collectors.
Call or email to make a purchase or schedule a visit to the gallery.
A reminder, purchases are on a first contact basis, so consider a back up option if your first option is no longer available.
A reminder, purchases are on a first contact basis, so consider a back up option if your first option is no longer available.
Additional images, or a video, to see the work from alternate angles are available upon request.
To see the work in person, contact the gallery to schedule a visit, or stop by during gallery hours.
Wednesdays 10am-2pm
Fridays & Saturdays 2pm-6pm
Click image for a larger view.
To see the work in person, contact the gallery to schedule a visit, or stop by during gallery hours.
Wednesdays 10am-2pm
Fridays & Saturdays 2pm-6pm
Click image for a larger view.
A Matter of Inches
60”x48”, 2024, Oil stick on canvas $9,000 |
Afro-Allergenic
36”x36”, 2025, Oil stick on canvas $5,000 |
Anatomy of Silence
46”x39”, 2025, Oil stick on canvas $8,500 |
Au Faix
20”x16”, 2024, Oil stick on canvas $2,900 |
Blackened Signal
24”x18”, 2025, Oil stick on canvas $3,200 |
Cindernote
48”x36”, 2022, Oil stick on canvas $6,000 |
Driftroot
48”x36”, 2022, Oil stick on canvas $6,000 |
Gravity of the Unspoken
48”x24”, 2022, Oil stick on canvas $5,000 |
Harvest of the Days
20”x16”, 2023, Oil stick on canvas $2,900 |
In Partial Address
36”x36”, 2025, Oil stick on canvas $6,500 |
Of Things Unseen
36”x24”, 2025, Oil stick on canvas $4,200 |
Phoenix
36”x36”, 2022, Oil stick on canvas $5,000 |
Red Feldspar
40”x30”, 2025, Oil stick on canvas $6,000 |
The Grammer of Sitting
48”x36”, 2025, Oil stick on canvas $6,000 |
The Moth
48”x48”, 2025, Oil stick on canvas $9,000 |
Under the Red Awning
24”x18”, 2025, Oil stick on canvas $2,900 |
Vibe!
48”x24”, 2025, Oil stick on canvas $5,000 |
Within Reach of Silence
48”x24”, 2025, Oil stick on canvas $12,000 |
Statement
"In Within Reach of Silence, Edun presents a series of semi-abstract figurative paintings that evoke the liminal space between presence and disappearance. Layered, spectral, and insistently tactile, the works meditate on the textures of diaspora, those carried histories that live within the body, yet remain just beyond articulation.
Edun’s figures emerge through veils of pigment and erasure; outlines arrive fractured; gestures remain suspended. Across this body of work, silence is neither emptiness nor void, but rather a charged terrain in which stories linger unspoken: inherited trauma, ancestral knowledge, unresolved longing, and cultural memory that resists language.
“Silence is not the absence of history,” Edun notes. “It is another way in which history survives.”
The exhibition’s title points to a threshold, a nearness. It suggests histories that can be felt before they can be claimed, and narratives that live in intuition, memory, and the remnants of gesture.
Within Reach of Silence invites viewers into this intimate terrain, asking them to consider what remains unseen, unsaid, and unresolved; and how silence itself becomes a vessel of endurance."
My work investigates Black identity through abstract portraiture, using oil stick as both medium and metaphor. Mainly focusing on single-figure compositions that evoke vulnerability, interiority, and emotional presence. Through abstraction, I move away from literal representation to emphasize the psychological and spiritual dimensions of being-what it means to exist, to be seen, and to be known on one's own terms.
Oil stick is a deliberate choice. Its tactile, physical nature allows me to draw and paint simultaneously, working directly and instinctively on the surface.
The friction of material against canvas mirrors the tension embedded in the subject matter-between visibility and erasure, power and agility, silence and expression. The immediacy of the mark-making process brings an urgency to the figures, as if they are emerging or dissolving in real time.
These portraits are not about capturing likeness; they are about holding space.
Each figure, isolated against minimal or undefined backgrounds, becomes a vessel for story, memory, and affect. Some stare out, asking to be reckoned with; others turn inward, existing in a moment of private contemplation.
Together, they form a quiet but insistent assertion of presence-one that resists stereotype, generalization, or simplification.
My practice is deeply influenced by the work of Ben Enwonwu, whose ability to merge African aesthetics with modernist traditions continues to resonate with me. Like Enwonwu, I am interested in representing Black subjects with complexity, dignity, and a sense of rooted transcendence. His work-particularly in portraiture-offers a blueprint for how the figure can operate not only as a visual form but also as a carrier of cultural weight, history, and narrative depth. Enwonwu's synthesis of tradition and innovation inspires me to explore how abstraction can serve as a site of both personal and collective expression.
As an artist, I am committed to using abstraction to carry emotional and narrative weight-how distortion, reduction, and gesture can tell truths that realism cannot. I draw from personal experience as well as broader cultural and historical contexts, but I leave space for interpretation. The ambiguity in these works is intentional; it invites viewers to bring their own associations and emotional responses.
Ultimately, my practice is about honoring complexity. It's about vulnerability not as weakness, but as a powerful form of expression and resistance. Through each portrait, I hope to create a space where Black interiority can be felt— viscerally, quietly, and without compromise.
Edun’s figures emerge through veils of pigment and erasure; outlines arrive fractured; gestures remain suspended. Across this body of work, silence is neither emptiness nor void, but rather a charged terrain in which stories linger unspoken: inherited trauma, ancestral knowledge, unresolved longing, and cultural memory that resists language.
“Silence is not the absence of history,” Edun notes. “It is another way in which history survives.”
The exhibition’s title points to a threshold, a nearness. It suggests histories that can be felt before they can be claimed, and narratives that live in intuition, memory, and the remnants of gesture.
Within Reach of Silence invites viewers into this intimate terrain, asking them to consider what remains unseen, unsaid, and unresolved; and how silence itself becomes a vessel of endurance."
My work investigates Black identity through abstract portraiture, using oil stick as both medium and metaphor. Mainly focusing on single-figure compositions that evoke vulnerability, interiority, and emotional presence. Through abstraction, I move away from literal representation to emphasize the psychological and spiritual dimensions of being-what it means to exist, to be seen, and to be known on one's own terms.
Oil stick is a deliberate choice. Its tactile, physical nature allows me to draw and paint simultaneously, working directly and instinctively on the surface.
The friction of material against canvas mirrors the tension embedded in the subject matter-between visibility and erasure, power and agility, silence and expression. The immediacy of the mark-making process brings an urgency to the figures, as if they are emerging or dissolving in real time.
These portraits are not about capturing likeness; they are about holding space.
Each figure, isolated against minimal or undefined backgrounds, becomes a vessel for story, memory, and affect. Some stare out, asking to be reckoned with; others turn inward, existing in a moment of private contemplation.
Together, they form a quiet but insistent assertion of presence-one that resists stereotype, generalization, or simplification.
My practice is deeply influenced by the work of Ben Enwonwu, whose ability to merge African aesthetics with modernist traditions continues to resonate with me. Like Enwonwu, I am interested in representing Black subjects with complexity, dignity, and a sense of rooted transcendence. His work-particularly in portraiture-offers a blueprint for how the figure can operate not only as a visual form but also as a carrier of cultural weight, history, and narrative depth. Enwonwu's synthesis of tradition and innovation inspires me to explore how abstraction can serve as a site of both personal and collective expression.
As an artist, I am committed to using abstraction to carry emotional and narrative weight-how distortion, reduction, and gesture can tell truths that realism cannot. I draw from personal experience as well as broader cultural and historical contexts, but I leave space for interpretation. The ambiguity in these works is intentional; it invites viewers to bring their own associations and emotional responses.
Ultimately, my practice is about honoring complexity. It's about vulnerability not as weakness, but as a powerful form of expression and resistance. Through each portrait, I hope to create a space where Black interiority can be felt— viscerally, quietly, and without compromise.
Temi Wynston Edun is a contemporary abstract figurative artist who lives and works in Columbia, Maryland. Born in Ibadan, West Africa, the first of six children, his intense and brooding portraits explore social, political and psychological themes of the black experience. His engaging figures capture phenotypic features of people of sub Saharan heritage that he calls “Africanness” in a unique and distinctive use of mark making.
Scale portraits and figures, usually isolated in spare or abstract backgrounds, emphasize the facial stares and expressions of the subjects, transporting the viewer to a level of intimacy and engagement with the work. This intimacy is the focal objective of the artist’s creations. Nothing tells the story of humanity like the face of a human, "I am fascinated by faces and the stories they tell, I look for "interesting faces" more so than a beautiful one. But, to me, interesting is not enough. A portrait must be engaging and emotive, be able to tell a story without words and to communicate with the viewer in an unspoken dialogue of new ideas and insights, and perhaps also of some shared experiences"
From a young age, Edun’s talent was recognized. He won multiple awards as a child including a competition in 1979 for his design of a poster commemorating UNESCO’s International Year of the Child. While a teenager studying at Edo College in Benin City, Nigeria (high school), his portrait of the Oba of Benin (the traditional ruler of the Edo people) was presented to the Oba.
In 1984, Wynston earned a Bachelor of Fine Arts from the University of Benin in Benin City, Nigeria, where he graduated with honors. One of his large-scale metal sculptures is still exhibited in a garden at the university.
After graduation, Edun had exhibitions of his work in both Benin City and in Lagos, Nigeria. In 1990, after migrating to the U.S., he received a commission to design a work of art for the Howard University Gospel Choir. From 1990 to 1993, Wynston worked and studied under internationally acclaimed Baltimore-based artist Larry “Poncho”Brown.
Edun’s work has been exhibited in galleries throughout his home state of Maryland and internationally such as Paris in 2022 and London in 2021. His work has been in international publications such as New American Paintings, issue number 166.
His work, “Just get over it (they say)”, was featured on the Travel Channel’s Ghost Adventures. In 2018, Wynston was commissioned by the DC Black Repertory Company to paint the portrait of the repertory’s founding actor and Hollywood legend, Robert Hooks.
Wynston Edun volunteers as a teacher to both young and older aspiring artists at Bridgeway Community Church in Columbia Md and is a member of a number of artists’ organizations including the Maryland Federation of Art
Website - www.artworkarchive.com/profile/temi-wynston-edun
Instagram - www.instagram.com/wynstonedunart/?hl=en
Instagram - www.instagram.com/wynstonedunart/?hl=en