B. °1975 - Toronto, Canada

Lives and works on the Suffolk - Essex Border and Antwerp, Belgium.

Represented by Shoobil - Antwerp, BE

Micha Eden Erdész is a contemporary Intermedia artist, curator and artistic researcher of Hungarian and Israeli heritage, based in the UK and Belgium. His formative influences are those of suburban Toronto of the 1980’s, particularly the carpeted basement of a Downsview split-level house with a blue door. A redundant home bar partially stocked by random liquors and beverages adorned the edge of this nether-land. A singular drum symbol remained in the same spot on the floor and behind the bottom of the stairs, the massive weight of an underfloor safe’s door remained always open and always empty.

Mutability and disapearence are both themes which infect his work. Erdész’s works are descriptions of consciousness. A tendency towards human potrayals of the supernatural in folklore, fairgrounds and horror films, is guided by the desire to ambigouslty traverse between interior and exterior worlds through the interaction of diverse media. Erdész engages with Intermedia as a kind of sensory technology to introduce participants to a subatlern layer of knowledge human, animal or neither. Among works in oil on rosin and mirrorglass, textiles, chrome and video, some pieces involve the dextrous working of oil paint and fine drawings onto synthetic transparencies, eschewing the structural clarity of the artist’s architectural training in favour of more ephemeral, ghost-like evocations, where fictions are emphasised over physical viability.

With degrees in Philosophy (Sussex), Architecture (Bartlett, UCL), Contemporary Art Practice (Edinburgh College of Art)and a Masters of Research in Arts Practice from CCW Graduate School from Chelsea College of Arts (UAL), Micha has a research interest in Intermedia as an artistic method generating multiple experiences of order and duration. This includes developing an understanding of the ‘supernatural’ as a function of articulating variable modes of time-consciousness for which he is currently developing a proposal for a Phd. in Practice.

Born to luthier Otto Alexander Erdész,  émigré of the 1956 Hungarian Uprising, and Israeli violist, Rivka Golani in 1975, Micha was raised in a particularly liberal moment in Toronto's historical identity. Erdész's father was sometimes seen wearing a t-shirt emblazoned with the words 'Viola King', although his dress was mostly sartorial. His early years were spent on Scollard St in the Bay area before the family moved uptown to Yonge and Eglington where his father's atelier crowned a ramshackle Portuguese style house positioned behind a car lot. Micha buried many things in the spacious and wild yard. At the age of 8, he moved with his mother apartment block not far from that of Viennese born psychotherapist who recounted stories of having had to repeatedly submit her professional thesis in various languages and styles to satisfy the authorities in the countries she had moved to on account of two World Wars.

Despite accompanying his mother’s travels to European cities and music festivals around the world for her concerts, after a memerable spate of poverty and a observing his mother frenziedly dispose much of her belongings down the apartment block's garbage shute, they moved again. Micha now lived in house of a University of Toronto music librarian with the largest home collection of classical music records in the world - over 30, 000 titles across every wall in a large suburban house not far from the highway and airport where the Pope John Paul II  made his vist in 1984. At this time, Micha sang in the choir of his local synagogue Beth Emeth Bais Yehuda.  He spent two years in the Toronto 'gifted' programme, an accelerated learning experiment for children showing certain aptitude, where he was steered clear of the liberal arts stream.  It was then he was went to England, which seemed exiting at the time as he had once stayed in London on Hyde Park at the residence of the Canadian cultural attaché.

Micha returned to the Florence Trust at St Saviours' in 2015 with a solo show entitled Hearth and Heat, a psychic re-reading of Hampstead Health in North London reviving the fictive anchorite persona of his former residency. He has curated major exhibitions including ‘The Liminal Phase’ in 2006, in 13, 000 sq feet of commercial space in Holloway, London as part of the then urban regeneration programme, culminating in his own work ‘New_Lon’ (2011), a public intervention collectively mapping residents’ impression of the stadium living on it’s edge condition. In 2019, he brought ‘New Magical Realism’, supported by the City of Munich, to The Minories, Colchester, which included Dutch, Belgian, German and Scottish painters, sculptors and installation artists. This exhibition is planned to be presented in a new format at the ‘Cultuurcentrum de Werft’ near Antwerp, Belgium in 2021 with the support of his gallery.