"Fascinated by both the microcosm and the macrocosm of the island’s austere beauty, Edgar returns to his studio. Working solely in charcoal, he renders his pieces in mysterious layers of smokey grays and blacks often featuring an abyss of darkness, a sort of psychological black hole." David Edgar: Australia's outer reaches in black and white, by Gregory Morell, Artscope Magazine: New England's Premier Culture Magazine (USA), September/October 2014

"Geological locations on the North-West have been brought to a new light through art". North-West inspires rock artist, by Damita Lamont, The Advocate, Saturday 26 October 2013, page 38

"David Edgar makes art inspired by his awe for ancient rock formations. For his latest project in North West Tasmania, he has engaged an 'interpreter' so that he can better understand his favourite subject." ABC Northern Tasmania Radio and webcast, June 2013

"Film noir has its origins in German expressionism and is associated with cynical crime and hardboiled anti-hero from black-and-white movies of Hollywood's 1940's and 50's.
The way David Edgar does not distract with romantic embellishments but a severely noir and grey interpretation of an island in South East Tasmania is artistically reminiscent of the stylish crime dramas.
In charcoal and pastel, he totally transcends vapid postcard postcard prettiness. His landscapes focus on detail rather than panoramas and show ravines, fissures and rocky extrusions in the full range of greys. Like the film noir genre, it eschews picturesque or adventurous realism to suggest an inner emotional reality.
It is a legacy of the enormous intrusion of magma that happened nearly 200 million years ago in Jurassic times.
Along with the breaking up Gondwanaland it left Tasmania with one of the largest exposures of dolerite in the world.
Somewhat atypical is his 'Micro Landscape Sketch', in which dark cliffs seemingly await the violence about to be unleashed by the gathering clouds.
Volcanic dolerite often ends ignominiously as crushed road surface or garden ornaments, but in its dawn of time, erosion-resistant wildness it is Edgar's island fascination."
'Maturity in going grey', in Gallery Watch, by Clyde Selby, Saturday Magazine, The Mercury, 25 May 2013, pages 22 and 23

"As you walk into an exhibition by David Edgar, you will be walking in to the pictures. His large scale drawings of geological formations range in size from 10 metres in length to 2.5 metres in height, creating a unique experience for all who view them. The Hobart artist has recently been announced the winner of the 2013 UTAS Cradle Coast Campus' Artist In Residence. This assists local, national and international artists to work in the North-West on arts projects" Creating unique experiences: large scale charcoal pictures capture geological formations, by Damita Lamont, The Advocate, 15 January 2013, page 11

Handmark Spring Newsletter 2012
On making her announcement that David Edgar had taken out the $5,000 acquisitive Corangamarah Art Prize for 2012, judge Robyn Burgess said that, "she was looking for technical excellence as well as interesting, original and intriguing subject matter. She felt Inner / Outer 3 had interesting ideas and was very well executed and presented." On 7 July 2012 at Otway Estate Winery and Brewery, Colac-Lavers Hill Road, Banongarook.

“For a material so often associated with tragedy, or post-combustive trauma, David brandishes his charcoal rather triumphantly, much like that critical cycle of nature, here re-juvinated life returns from the ash. It is with understated humility that he describes his fascination with this material, his interest in drawing and the intersection between self and a sense of place.” Wayne Brookes, 2 September 2011, opening speech Handmark Gallery

“We were treated to magnificent sunrises and sunsets, explored some spectacular parts of the island, marvelled at the steep cliffs, endless sky and sea, viewed whales frolicking, sea eagles soaring and seals lounging.” David Edgar quoted in an article by Liz Wren, Wildtimes, April 2009, page 4

“When the artist uses the charcoal to create dark and definite impressions with corresponding illusionary areas of light, he has created some successful compositions… Commendable is the uncompromising grimness and greyness with there being nothing even approximating a scenic view. Assuredly, the sight of this island would have served as a prelude to the land of the demons in the fearful eyes of the hapless convicts.” Clyde Selby, The Mercury, Saturday 17 September 2011, Gallery Watch, page 22

“The focus tends to be on movement and a great deal of energy, whether it be tempestuous, awe-inspiring, or even calming.” Marjorie Kaye, Caladan Gallery, media release, August 2010

“The artist is interested in the transitions between the daily evolution of information, mark making that signifies this and the diaristic nature of recording everyday life actions and activities. It is expected that the gallery space will contain layer upon layer of sometimes minimal marks, signifying the journey and evolution of an everyday occurrence – moods changing like the weather.” Matt Warren, media release, Inflight Gallery, April 2011

“Hobart-based artist David Edgar explores the notions of island time with large-scale works on paper.” Artist Interview: David Edgar, by Alison McCrindle, Warp Magazine, May 2011, page 26

“Fantastic show… drop everything and go and see it… it was a show that if you experienced, would take a long time to forget about.” Mat Ward and Wayne Brookes, July 2010, MFA submission, Art on the Edge, Edge Radio

“By filling the entire Plimsoll Gallery with incredibly vast charcoal appliances, he literally flayed the island’s dolerite epidermis and amassed the hides within the Plimsoll cavity. Here, you actually felt the roaring rapture of the Sublime –the sense of the divine in the face of Nature – and that fear, that fear of insignificance evoked by artists like Anselm Keefer or Richard Serra who make physical work that appears poised to annihilate you – remarkably, David Edgar manages to do this, convincingly, with charcoal and paper.” Wayne Brookes, 2 September 2011, opening speech Handmark Gallery

“Charcoal artist David Edgar has secured his second nomination for the Hobart Art Prize, joining about 40 finalists selected from 400 entrants in the 2011 award… Edgar’s 1.5m2 piece Left Behind depicts Tasman Island’s cliffs and boulders and has been named among the finalists for the Paper category for this years prize.” Brian Ward, The Mercury, Tuesday 28 June 2011, Newsfront, page 27

“David Edgar has assembled the curiously titled work-in-progress Imaginary Place near Tasman Island from 18 charcoal drawings and counting, which is set to double size before he finishes.” Clyde Selby, The Mercury, Saturday January 10, 2009, Inside Arts, page 8

“It is an act of love, of devotion, only his devotion is a discharging of surface, a eulogy to the cliff-face, the outcrop – and with this most humble of materials he manages to replicate the essence, the physical enormity of this timeless propulsion of geology.” Wayne Brookes, 2 September 2011, opening speech Handmark Gallery

“Known for his enormous, immersive, sublime charcoal drawings, he is well known in the art world.” Exploring the Mark, Olivia Bowman, The Apple, Winter 2011, pages 26-29

“A crowd packed the Handmark Gallery, eager to see David Edgar’s latest charcoal drawings. His exhibition, Left Behind, displayed 14 large framed and unframed panels, which reveal his fascination with Tasman Island… Currently David works exclusively with charcoal on paper and Tasman’s precipitous cliffs dominate his large-scale drawings… David’s drawings reflect his intense feelings in the isolation and natural immensity of Tasman Island. Thank you, David, for sharing your artists’ eye view of the island with us.” Erika Shankley, Wildtimes: Friends of Tasman Island, February 2012, page7