Tim Wilson (b. 1970) is a Brooklyn-based visual artist originally from Richmond, Virginia. His solo exhibitions include Something Rather Than Nothing at Sardine in Brooklyn, New York, PG-13 at Schroeder Romero in New York, and See Me, Feel Me at 31 Grand in Brooklyn, New York. His works in group exhibitions have been presented at Recess, The Ulrich Museum of Art, and Peres Projects among others. Wilson received a B.F.A. from Virginia Commonwealth University and an M.F.A. from Yale University School of Art. He is currently an artist in residence at the Lower Manhattan Cultural Council’s Process Space on Governors Island.
The hope for my work is that it will provide myself and the viewer an intimate space for reflection on ones being in the world. These ideas are conjured through a simple, yet coded mix of color, form, process, and representation. This ongoing methodology functions as a visual analog to those thoughts—a discursive mutation of process, driven by the tension between intuition and intentionality.
Specific to this project, the nocturnal scenes of 17th century French Baroque painter Georges de La Tour beckon an inward contemplation on mortality and enlightenment. Lit within, these paintings serve as a transcendental 'hearth' for the viewer. The stillness of the simple planes and their economy of means gives way to highly meditative works. In my painted renditions however, the chiaroscuro illusion is substituted for the blunt physicality of color relationships that Josef Albers’ palette provides in context to the optics of looking and the language of seeing. This curious paring speaks directly to a contradiction in the materiality of painting and the presence of sensory awareness to that of metaphysical perception and allusion, which paradoxically, feeds back into the expectations of both quoted histories.
On the notion of paradox, ontological questions like, “Why is there something rather than nothing?”, burn particularly bright in my thinking. For me, consciousness is a byproduct of material processes. I see painting as a model for those physical conditions governed by natural laws that seemingly give rise to a sense of self and notions of free will. I'm attempting to mimic that unfolding and at the same time, create thought through painting material. In doing so, my work attempts to be what it represents and represents it simultaneously—a sort of onomatopoeia in painting language that seeks to find meaning in nothing.
read the full article here