If you thought that maps were boring and are only meant to help people locate places, then its time to flush that thought away. Lately, maps have become an apt surface for artists. So bubyee... boring and hello... creative and when I say this I'm talking about the maps. Ed Fairburn is one of those creative minds because of whom maps are no more boring.

Ed Fairburn creates portraits on actual maps. The best thing about Ed's map portraits is the way Ed uses the lines.

Ed is a UK based illustrator, who graduated with a degree in Fine Arts. Most of his work is figurative and can be found on a variety of surfaces like envelopes and steel.

He loves to draw, paint and make anything arty. According to his website, "The work I produce is largely self-directed, allowing me to explore a wealth of ideas and concepts which need to be realized." He has exhibited his work across the world and his artwork is even available for purchase. Read on to know more about Ed in our exclusive interview with him.

1. Hi Ed, please introduce yourself to our readers.

Hi there - I'm Ed, an artist and illustrator based in Cardiff, UK.

2. What inspired you to become an artist and were you always inclined towards art?

I've always been creative, yes. When I was a kid I would draw for hours. I remember once visiting the Clifton Suspension Bridge in Bristol, I must have been about seven or eight - later that evening I insisted on drawing the bridge instead of going to bed. I tried to add every little detail I could remember and some that I couldn't. It wasn't until I was about sixteen/seventeen that I took drawing 'seriously' - I had wanted to join the Royal Air Force, I had all my application forms filled out but for various reasons I dropped that and went to college to study fine art instead. Looking back I'm happy with the choices I made.

3. How do you decide upon the medium for your artwork? What are the various artforms you dabble in?

I try to dabble in as much as I can. Context plays a big part in my practice, I love the idea of exploring new surfaces and situations in which to create my work. The idea of intervention and 'hijacking' a particular object or mechanism, only to use it as a canvas, really appeals to me - the possibilities are endless. Whether it's a map, an envelope or something entirely different, the surface which I choose to work on tends to influence my decision over the media - although it's usually either oil, watercolour, pencil or ink, perhaps even a combination of those.

4. Your 'Bartholomew Series', 'Deutschland' and 'Zambia Project' are some amazing projects that you have worked on. What prompted you to use maps as a base for your artwork?

It was a natural continuation. When I left uni I had been studying the patterns that exist within the human figure, particularly the 'fragmented' texture of the skin - I started drawing portraits that exaggerated these textures and these were formed from hundreds of small geometric shapes which I would pencil in. When my interest in utilising unusual contexts grew, the idea of working on a surface with a prescribed pattern (such as a map) was, to me, irresistible. I enjoy the map work but it certainly won't be the last surface or idea that I experiment with.



There's always a story behind the subject. I'm fascinated by different cultures and anthropologies and that curiosity often manifests itself through my work. I also have a desire to share something beautiful with the world - without opening a huge can of worms, I think that the idea of beauty and what is beautiful is becoming warped in today's society - as an artist I feel that I can help to reinforce the original and innocent idea of what is beautiful. That's usually what runs through my mind when choosing a subject and it's usually an inspiration to me rather than a 'starting point'.



Did I get away with using it as a pellet trap? If my landlord reads this interview, then no. The house that I lived in as a student had a long hallway - it was perfect for shooting paper targets with my air rifle. I quickly realised that the only way to stop the pellets from wedging into the wall was to place something thick and durable behind the target. It may not have been the most sensible decision, but using the cover from our boiler was certainly resourceful. At the end of my tenancy I realised I had to get rid of it. Somehow, posting it to a relative felt like the best option - I turned the sheet of steel into a portrait, adding the delivery address at the bottom - but unfortunately the Royal Mail refused to process it on the grounds that it was insufficiently packaged.


Yes, the Missing project was great fun - the idea crossed my mind late one night, and I thought why not? A couple of mates were keen to help even though it meant a 4am start. We photographed the process of putting the posters up and finished at about 7am - by the time we arrived home, the first call came in. The first of many - I was tired and wanted to shower and sleep, but instead I spent the day speaking to strangers about fish. It was all very bizarre. I found the banks to be a bit disappointing on the whole - yes, I did apply for a loan to cover the ransom demands, but I wouldn't have taken one out in the unlikely event it was offered to me. I was invited in for an appointment with a bank branch in Scotland, to discuss the application further - and I received some unusual calls - but out of the 80 branches that I wrote to I didn't really get any solid responses. I wrote to 80 because I wanted to maximise the chances of getting some kind of dialogue going with a bank manager - when it came to choosing my 80, I hammered tacks into towns and cities up and down a map of the UK. The process was a little more conceptual than it sounds, it wasn't a random selection - but that's another story.


I prefer to work on my own conceptual explorations but I'm flexible either way. Commercial work often presents a challenge which can be really engaging. And the biggest compliment I've received? Quite simply it's the ongoing support that I receive from family, friends and the public - my girlfriend has been particularly supportive, she's an artist herself so she gives great advice as and when I need it. Receiving support is important because it's a recognition - it's a confirmation that people have faith in what you're doing.


I'd be curious to learn more about the practices of Chris, Theo, Amelia and Anna - my past tutors at uni. As a student I was taught, advised and encouraged by them and they consistently provided me with the information and motivation to develop as an artist. I think that after being in that position for four years I've grown a natural curiosity to find out more about their own practices.

10. What sort of activities do you like to pursue in your free time? Which of these do you find to be most de-stressing?

I drink beer, eat steak and spend plenty of time in the bath. It's a mismatched evening but it's very de-stressing.

11. What are your future plans as an artist? What is that one project that you would like to see accomplished in the future?

That's a secret! I have a notebook that contains a variety of ideas, some of which I wrote down last year and some last week. I don't keep a sketchbook in a visual sense - all of my workings are in word form with the occasional diagram. (Checkout the image below)


Thanks Ed for working with us for this interview. We'd like to wish you the very best for the future.

Stay tuned for more inspiration!