I read the description for this exhibition on a-n’s site and thought it sounded relevant to my work. Wilson’s use of so many mediums is interesting, but also how she considers access to landscape as well as our experience of it. Access is not something that I had considered before, considering this deals with things such as privilege, politics, relative location.
I have talked before about how a painting of a landscape is a reflection of the artist’s perspective (cultural, social, emotional etc) of the woodland space. But I have’t before considered how access to the land could affect the painters experience of a space, affecting the finished artwork.
If the land is public, private, easy to find, a long walk to get to? Up until now I have solely, I think, considered the emotional and sensory experience captured in my abstracted landscape paintings. Considering new things such as access, privilege etc. might steer my work in some direction, although this all seems very conceptual? Perhaps these thoughts would fit into my dissertation?
I can come back to these thoughts.
I read the interview in the exhibition catalogue and there were some artists mentioned that inspired Wilson that I may look at in detail.
I want to probe the infrastructure and privilege that allows us to access landscape but that is unseen in romantic images of it, where landscape becomes a mental space of escape rather than reality.P.8 of ISLAND catalog, link to it here: https://www.jgmgallery.com/alice-wilson-island
This idea is interesting. Of an external landscape becoming represented by an internal experience. I guess I am finding the balance of that in my paintings. Saying that reminds me of the exhibition I saw a few years back at the White Cube called Tightrope Walk: Painted Images After Abstraction. This exhibition seems to sit just below my conscious thoughts sometimes! I think I should revisit it.
I have been naming romanticisation in my paintings irrelevant in the past. It has been: this is what I experience, I am figuring out how to record that experience, never mind what is being experienced or recorded.
Lots of thinking about things deeply here.. maybe I’ll return to this train of thought.
I don’t have too much else to say on Wilson’s work now.