The Engineer’s Geometry

Born in Pengam, Wales, in 1920, Edwin Tanner lived a life defined by the intersection of rigid structure and creative impulse. After emigrating to Australia as a child and settling in Port Kembla, New South Wales, his early path was dictated by the precision of technical science. He graduated in Engineering in 1944 and eventually served as the Engineer-in-Charge of Tasmania’s Hydro-Electric Commission. This professional background provided more than just a livelihood; it offered a visual language of lines and logic that would later define his aesthetic.

It was not until 1951, at the age of thirty-one, that he began studying Fine Art at Hobart Technical College. His education was remarkably broad, encompassing not only the visual arts but also English, Philosophy, Logic, Scientific Method, History, Mathematics, and Applied Physics. This multidisciplinary foundation allowed him to approach the canvas with a unique perspective, blending the analytical mind of an engineer with the expressive needs of a painter.

A Mathematical Expressionism

Tanner’s work emerged into the public eye through the Contemporary Art Society in Sydney and Melbourne in 1954. His ability to translate technical concepts into art led to him being described as a mathematical expressionist. His paintings often utilized geometric lines and technical forms to explore complex themes. His output was marked by several distinct phases and subjects:

• The use of geometric lines and technical forms derived from his engineering background.
• A series of works relating to the scandal of Professor Orr in 1957.
• The horoscope series, a suite of paintings depicting the signs of the Zodiac exhibited in 1972.
• Works influenced by the heavy, textured approach of Pierre Soulages, which he encountered in Paris in 1967.

His career was marked by a refusal to be easily categorized. While his technical skills were evident, his work often carried an overt and persistent autobiographical current. This tension between the calculated and the personal made his presence in the Australian art scene difficult to ignore. In 1954, the National Gallery of Victoria acquired his first work, a moment that sparked controversy among the Public Service due to his depiction of their profession.

Exhibition and Legacy

Throughout his life, Tanner exhibited at several prominent venues, including the Museum of Modern Art in Melbourne, Rudy Komon in Sydney, Bonython Gallery in Adelaide, and Powell Street in Melbourne. His presence in the art world was sustained through major retrospective exhibitions, such as those held at The Age Gallery in Melbourne in 1976, Monash University Gallery in 1990, and TarraWarra Museum of Modern Art in 2018. These exhibitions highlighted a career that successfully bridged the gap between the empirical and the abstract.

He died in 1980, leaving behind a body of work that remains a subject of study for those interested in the intersection of science and art. His son, Edwin Jan Tanner, has been instrumental in preserving the insights and history of his father's creative output. The works of Edwin Tanner remain a significant part of the Australian mid-century landscape, representing a singular attempt to map the human experience through the lens of mathematical precision.