Micha Eden Erdész is a Toronto born 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.

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'. His early years were spent on Scollard St in the Yorkville/ Bay area before the family moved uptown to Yonge and Eglington where his father's atelier crowned a Portuguese style house positioned behind a car lot. Micha buried many things in the spacious and wild yard.

Erdész’s works are descriptions of consciousness. Mutability and disappearance are both themes which infect his work. A tendency towards human potrayals of the supernatural in folklore, fairgrounds and horror films, is guided by the desire to ambiguously 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 subaltern layer of knowledge human, animal or neither. Among works in oil on rosin and mirror-glass, 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.

Micha is currently developing a Phd proposal entitled ‘Supernatural Promise: Art as prognostic technology’, centred on the paradigmatic conceptualism (Kaiser) of Jack Goldstein. 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.

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.