The other was more contemplative in mood and made up of subtle colour harmonies, often sombre, with relatively static compositions and simple forms, exemplified by the paintings of Mark Rothko and Ad Reinhardt.
In hand written notes on her work in 1983, Edwards explained that, for her, black "is essential for directing the viewer...into a spiritual dimension, acknowledging the hidden mysterious nature of the eternal".
Edwards noted that a black surface attuned the viewer to strive to glimpse subtleties of forms, some of which gave an illusion of depth (with some planes receding and others approaching the viewer), an illusion which could be related psychologically to the experience of varying levels of human consciousness: "If the painter achieves sufficient depth in the process of painting an experience of passing through an open door into a feeling of oneness or unity or complete freedom is attained".
The physical presence of these dynamic works is compelling in itself, but there are also forms reminiscent of both natural and urban environments:linear elements may refer to tree trunks, horizons, rocks, rivers, cliffs, shorelines.
And it has been noted that the gritty, rusted-industrial or bituminous looking surfaces of the paintings echo Edward's experiences of twice renovating filthy, former commercial loft spaces in the SoHo and TriBeCa areas of New York.